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Pontifícia Universidade Católica De São Paulo Programa De Estudos Pós-Graduados Em Comunicação E Semiótica Thaís Silva

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Pontifícia Universidade Católica De São Paulo Programa De Estudos Pós-Graduados Em Comunicação E Semiótica Thaís Silva PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO PROGRAMA DE ESTUDOS PÓS-GRADUADOS EM COMUNICAÇÃO E SEMIÓTICA THAÍS SILVA FONSECA MULHER-GATO: POLÍTICAS DA MULHER, MODOS DE PRESENÇA E NARRATIVA TRANSMÍDIA SÃO PAULO 2016 THAÍS SILVA FONSECA MULHER-GATO: POLÍTICAS DA MULHER, MODOS DE PRESENÇA E NARRATIVA TRANSMÍDIA Dissertação apresentada ao Programa de Estudos Pós-Graduados em Comunicação e Semiótica da Pontifícia Universidade Católica de São Paulo, como exigência parcial para obtenção do título de Mestre em Comunicação e Semiótica. Área da Concentração: Signo e significação nos processos comunicacionais Linha de Pesquisa: Regimes de sentido nos processos comunicacionais Orientadora: Profa. Dra. Christine Pires Nelson de Mello SÃO PAULO 2016 THAÍS SILVA FONSECA MULHER-GATO: POLÍTICAS DA MULHER, MODOS DE PRESENÇA E NARRATIVA TRANSMÍDIA Dissertação apresentada ao Programa de Estudos Pós-Graduados em Comunicação e Semiótica da Pontifícia Universidade Católica de São Paulo, como exigência parcial para obtenção do título de Mestre em Comunicação e Semiótica. APROVADA EM: _____ / _____ / _____ BANCA EXAMINADORA: _____________________________________________ Profa. Dra. Christine Pires Nelson de Mello - PUC/SP (Orientadora) _____________________________________________ Profa. Dra. Ana Claudia Oliveira - PUC/SP (Examinador) _____________________________________________ Prof. Dr. Valdomiro Vergueiro - ECA-USP/SP (Examinador) À Floracy, Ana, Graça, Kátia e Maria, super-heroínas da vida real. AGRADECIMENTOS Agradeço com todo meu corpo vestido e alma à minha amada mãe e primeira super-heroína que tive contato, Flora, por todo amor e por ter me apresentado a Disney, DC Comics, Star Wars, e tantas outras narrativas fantásticas que enriqueceram minha infância. Obrigada por todo apoio e por convocar todas as deidades do universo através de suas orações para cuidarem de mim. Esta dissertação também é sua. À minha querida tia Ana, minha segunda super-heroína. A Kátia, Graça, Maria e Paulo. Vocês moldaram grande parte de quem eu sou e minha forma de ver o mundo. À minha irmã, Duana Aquino e minhas super-amigas, Alana Krás e Eva Furtado por terem me acolhido, acompanhado e incentivado em todos os momentos. Às minhas nerds favoritas Ju Cal, Ana Paula Castro, Felipe Tuji, Belle Casseb, Ju Dompietro, Lety Silva, Bia Ribeiro, Carollis da Silva, Rê Leão e Aleh Mendonça pelo auxílio, por sempre me fazerem rir em momentos de cansaço e pelas discussões problematizadoras sobre o mundo nerd que me motivaram a fazer esta dissertação. Às minhas companheiras de mestrado, Lari Zuim, Agatha Justino, Carol Menezes, Aline Perrotti e Giovana Vidotto, vocês me inspiram. Aos meus amigos Cássio Nogueira, Caio Rossoni, Bruno Costa, Moara Brasil, Lili Maria, Camila Xavier, Diogo Arero e Alson Fender, pela paciência pelos dois anos e meio de retiro acadêmico. À minha maravilhosa orientadora Chris Mello, obrigada por acreditar em mim. Ao CNPq pelo apoio à pesquisa, aos professores da PUC-SP por tudo que me foi ensinado e as contribuições de Ana Claudia Oliveira e Waldomiro Vergueiro. Ao Otoniel Oliveira, meu amigo e mentor de problemáticas acadêmicas super-heróicas. Aos amigos do grupo de orientação, em especial à Juliana Garzillo e André Borges. Percorrer este caminho com vocês tornou tudo muito mais divertido. Being a Catwoman means being confident, even when you’re so freaked out you could fall off a building. It’s about being fierce when you need to be. Or soft. And knowing when to be which. It’s about not being one of those nice little mice who aspire to blend into the background. (Suzan Colón) RESUMO FONSECA, Thaís S. Mulher-Gato: políticas da mulher, modos de presença e narrativa transmídia. 2016. Dissertação (Mestrado em Comunicação e Semiótica) - Pontifícia Universidade Católica de São Paulo, São Paulo - SP. Esta pesquisa procura investigar as problematizações da representação feminina nas narrativas de super-heróis, tendo como objeto de pesquisa a anti-heroína Mulher-Gato (Catwoman) e como seus modos de presença são marcados por um corpo vestido objetificado que enfatiza a dimensão estética em detrimento da subjetiva. O estudo tem como questão principal compreender como os valores que a colocavam na posição de objeto sexual e par romântico do herói Batman foram resinificados em sua representação atual devido ao fenômeno da narrativa transmídia e da cultura participativa. Em um primeiro momento, a pesquisa explora a história das mulheres nos quadrinhos através da contextualização histórica, social e cultural dos anos 1940 até 2010, para compreender quais as influências desses acontecimentos na construção e mutação narrativa das personagens femininas. Busca-se, em um segundo momento, entender como o corpo é tematizado pelo enunciador, e analisar as modificações do chamado corpo vestido da Mulher-Gato. Através dessa análise, pretende-se perceber como a construção da imagem feminina nesta mídia ocorre e, com isso, possibilitar uma desconstrução da visão hegemônica e sexista do que é ser mulher, e, mais especificamente, do que é ser uma personagem feminina no universo dos super-heróis. O caminho metodológico parte da análise semiótica dos principais figurinos da Mulher-Gato nas revistas em quadrinhos, compreendidos entre as décadas de 1940 até 2010. Por fim, com base nessa análise, busca-se comparar os modos de presença da personagem nos quadrinhos, com suas narrativas em outras plataformas midiáticas e perceber como a cultura participativa tem influenciado na democratização do desenvolvimento de personagens. Sendo assim, a dissertação visa a contribuir para uma crítica à indústria cultural, ao analisar a política das mulheres nas relações comunicacionais, por meio dos quadrinhos e das narrativas transmídia. A pesquisa está apoiada, teoricamente, em autores como Vergueiro (2003), Madrid (2009), Oliveira (2007); na análise sociossemiótica, estudos de moda e identidade e conceito de corpo vestido de Oliveira (2005, 2008), assim como nos regimes de visibilidade de Landowski (1992); na análise política de gênero de Mulvey (1983); no estudo do fenômeno da convergência midiática de Jenkins (2009) e na leitura das extremidades de Mello (2008, 2016). Palavras-Chave: Políticas da Mulher. Modos de Presença. Narrativa Transmídia. Mulher- Gato. Representação feminina em HQ. ABSTRACT This research investigates the problematics of female representation in superheroes comic books having as object of research the anti-heroine Catwoman and how her modes of presence are marked by an objectified body that emphasizes the aesthetic dimension over the subjective. The study’s main question is to understand how the values that placed her in the position of sexual object and romantic partner of the hero Batman changed in her current representation due to the transmedia storytelling phenomenon and the participatory culture. At first, this research aims to explore the history of women in comics through the historical, social and cultural context of the years 1940 to 2010 and comprehend what influences these events had in the narrative construction and mutation of the female characters. Seeks, in a second moment, understand how the body is dealt by the enunciator, and analyze the changes of Catwoman’s dressed body. This analysis seeks to comprehend how the female construction in this media occurs and, therefore, enable a deconstruction of the hegemonic and sexist vision of what is to be a woman, and more specifically, of what is to be female character in the universe of comics. The methodological approach is through the semiotic analysis of the main costumes of Catwoman in comics, ranging from the 1940’s to 2010. Lastly, based on this analysis, is intend to compare the character’s modes of presence in comics with her narratives in other media platforms and realize how the participatory culture has influenced the democratization of the characters development. Thus, the research aims to contribute to a critique of the cultural industry in analyzing woman’s policies in communication relations through the comics and the transmedia storytelling. The research is supported theoretically in authors like Vergueiro (2003), Madrid (2009), Oliveira (2007); in sociosemiotics analysis, fashion and identity studies and the concept of dressed body of Oliveira (2005, 2008), as well as in Landowski regimes of visibility (1992); in gender policy analysis of Mulvey (1983); in the study of the media convergence phenomenon of Jenkins (2009) and the extremities reading of Mello (2008, 2016). Keywords: Woman’s policies. Modes of Presence. Transmedia Storytelling. Catwoman. Female representation in comics. LISTA DE FIGURAS Figura 1 - Primeira aparição da Mulher-Gato na Batman #1, 1940 ......................................... 14 Figura 2 - As primeiras heroínas da Era de Ouro: Woman in Red, Madame Fatal e Mulher- Maravilha .................................................................................................................................. 22 Figura 3 - As Debutantes: Lady Fantasma, Spider Widow, Mascarada, Lady Luck e Miss Fury. .................................................................................................................................................. 23 Figura 4 - As Ajudantes: Gavião Negro e Mulher-Gavião, Capitão Marvel e Mary Marvel, Homem Boneco e Pequena Polegar, Flama e Flame Girl ........................................................ 23 Figura 5 - As Patriotas: Miss America, Miss Victory, Black Cat, War Nurse e Black Angel ... 25 Figura 6 - Mulher-Maravilha na All-Star
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