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Narrativas Visuales Perspectivas Y Análisisanalisis Desde Iberoaméricaiberoamerica

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Narrativas Visuales Perspectivas Y Análisisanalisis Desde Iberoaméricaiberoamerica Carlos Eduardo Daza Orozco Antonio MíguezM’guez Santa Cruz Analia Lorena Meo Narrativas Visuales Perspectivas y análisisanalisis desde IberoaméricaIberoamerica Editorial Narrativas visuales: Perspectivas y análisis desde Iberoamérica Carlos Eduardo Daza Orozco Antonio Míguez Santa Cruz Analia Lorena Meo CONSEJO SUPERIOR CRÉDITOS UNIVERSITARIO Investigadores principales Carlos Eduardo Daza Orozco Daza Orozco Carlos Eduardo Miembros fundadores Míguez Santa Cruz Antonio Antonio Míguez Santa Cruz Rodrigo Ferreira Pinzón Meo Analia Lorena Andrea Meza Ferreira Analia Lorena Meo Carlos Sebastián Ferreira Osorio Narrativas visuales: perspectivas y análisis desde Julián Orlando Ferreira Rondón Co-Investigadores iberoamérica Federico Álvarez Gandolfi Luis Rodrigo Ferreira Díaz Bogotá D.C.; Fundación Universitaria San Mateo, Mayara Araújo María Janeth Díaz 2018. Vivian Janeth Ferreira Díaz Julio Emmanuel Banega Peyrot 545 p.; 21 X 21 cm. Presidente Mario Javier Bogarín Quintana Carlos Orlando Ferreira Pinzón Andrés Camacho López Palabras clave: Ciencias sociales y humanas, cultura, arte, sociología, estudios de la imagen. Rector Raúl Cera Ochoa Juan Carlos Cadavid Botero Marcos Rafael Cañas Pelayo Víctor Cerdán Martínez Secretaria General Registro ISBN No. 978-958-56900-1-1 Melba Rosa Ferreira de Meza Tania Lucía Cobos Omar Alonso García Martínez Martín Ariel Gendler AUTORIDADES ACADÉMICAS © Fundación Universitaria San Mateo María del Valle Guerra Vicerrectora Académica Gerardo Ariel Del Vigo María Luisa Acosta Triviño Este libro es resultado de un proceso de investigación; y, ha sido evaluado Paula Alejandra Fernández Decana Facultad Administración Elena Gil Escudier por pares ciegos. Elizabeth Araque Elaica Antonio Horno López Decana Facultad Ingenierías © Todos los derechos reservados. Diego Labra Gloria Andrea Avelino Eliasid Mercado Mercado Director de Investigación No se permite la reproducción total o parcial de esta obra, ni su incorpora- Jonathan Emanuel Muñoz Ricardo Acosta Triviño Diego Hernán Rosain ción a sistemas informáticos, ni su tratamiento en cualquier forma o medio Director programa académico de Diseño gráfico Roberto Jesús Sayar existentes o por existir, sin el permiso previo y por escrito de la Coordina- Krystal Urbano Camilo Andrés Soto Yepes ción de publicaciones de la Fundación Universitaria San Mateo. Coordinador de Investigación Daniel Villa Gracia programa académico de Diseño Gráfico Avales académicos Yubar Deibi Portilla Benítez Universidad de Córdoba - UCO Sociedad Colombiana de Investigación e Innovación EQUIPO EDITORIAL Formativa – SCOIF Coordinación de publicaciones Carlos Eduardo Daza Orozco Apoyo interinstitucional Corrección de estilo Cool Japan, España Red Raúl Antonio Cera Ochoa Iberoamericana de Investigadores Diagramación en Anime y Manga - RIIAM Luis Alberto Mora Nicolás Alejandro Jiménez Daza Grupo de investigación Ilustración Tatiana Karolayn Vaca Garzón Retoque digital Luisa María Plazas Gómez CONTENIDO PRESENTACIÓN 13 La afortunada odisea de la narratividad y la visualidad en Iberoamérica 13 Yubar Deibi Portilla Benítez 13 SECCIÓN I 23 PERSPECTIVAS PARA ENTENDER LAS NARRATIVAS VISUALES 23 ¿Qué anima el anime? 25 Julio Emmanuel Banega Peyrot 25 Lo que anima el anime 30 El anime construye un objeto desde la fantasía 35 Lo que trasmite el anime 38 El anime es del orden del jeroglífico 40 La estética anime: un estilo especial a ojos del público 45 Antonio Horno López 45 Simetría en el canon del personaje anime 47 Expresiones faciales y simbología 53 El color como elemento estético y narrativo 56 La diversidad temática y su asimilación en Occidente 61 Conclusiones 66 Representación del movimiento en el manga y el anime 69 Daniel Villa Gracia 69 Manga, Anime y percepción del movimiento 70 Plasmación del movimiento en el manga 72 Movimiento en la instantánea: el instante esencial 87 Movimiento en el anime: animación completa y animación limitada 90 Características de la animación limitada 94 Desarrollo del movimiento en la animación limitada 96 La tecnología digital en anime 100 Conclusiones 104 En mis tiempos se llamaba Bobby: evoluciones e involuciones del doblaje del anime en Latinoamérica 109 Diego Hernán Rosain 109 Roberto Jesús Sayar 109 Nombres que no lo son tanto: Detective Conan 112 Adaptaciones selectivas: Los Caballeros del Zodíaco 118 Aprendiendo de los errores: Dragon Ball 125 Conclusiones 132 Aishite iru Nihon: aproximaciones al estado de la cuestión sobre el anime y manga en Iberoamérica 137 Analia Lorena Meo 137 Materiales académicos 140 Mirada iberoamericana sobre el manganime 141 Red Iberoamericana de Investigadores en Anime y Manga 148 A modo de cierre 150 La identidad del manhua, un proceso de reconocimiento 157 María del Valle Guerra 157 El manhua en la actualidad 158 Características que hacen único al manhua 160 El uso de la tecnología, motor de manhua 166 Conclusiones 169 Del manhwa al webtoon: reflexiones en torno al desarrollo de la industria de los cómics en Corea del Sur 173 Paula Alejandra Fernández 173 Desarrollo del manhwa en Corea 174 Internet, políticas, censura y consumos: preparando el terreno para los webtoons 179 La era del webtoon 184 Conclusiones 189 SECCIÓN II 195 ELEMENTOS REPRESENTACIONALES EN LAS NARRATIVAS VISUALES 195 Del Manga, el Anime y sus demonios: sexo, ultraviolencia y monstruosidad en Devilman de Gô Nagai. 197 Antonio Míguez Santa Cruz 197 El anime universal de Netflix 198 Gō Nagai, el padre del anime moderno 200 Devilman, un manga hito 204 Miedo al Holocausto nuclear 207 Tecnificación exacerbada 209 Fin del sistema familiar (Ie) 210 Ecologismo 211 Reacciones respecto a Occidente 213 Crybaby 218 Coda, cerrando el Pentágono 221 Moeismo reaccionario: Nacionalismo, Militarismo y Memoria Histórica en el Anime 223 Jonathan Emanuel Muñoz 223 El manga, anime y guerra 224 La guerra es indeseable 228 La guerra es heroica 229 Joker Game: entre el efecto de veracidad y el rechazo a la guerra 232 La guerra es kawaii 235 Moeismo reaccionario: hacia un concepto 240 La representación de la toma y la retoma del Palacio de Justicia en el diario “El Espacio” 247 Omar Alonso García Martínez 247 El contexto 248 La caricatura 258 Conclusión 267 La representación de las infancias en el cine de animación latinoamericano 271 Carlos Eduardo Daza Orozco 271 Raúl Antonio Cera Ochoa 271 Infancia(s) negadas 273 Un recorrido conceptual 275 Selección metodológica 276 La preocupación por la(s) infancia(s) en el cine de animación 277 Inocentes y guerreros 278 Hombre(citos) y mujer(citas) 283 Héroes y aventureros 284 Conclusiones 287 SECCIÓN III 291 MIRADAS TEMÁTICAS A LAS NARRATIVAS VISUALES 291 Las oscuras chicas mágicas: una mirada a Puella Magi Madoka Magica 293 Tania Lucía Cobos 293 Eliasid Mercado Mercado 293 Las mahō shôjo, magical girls o chicas mágicas 294 La sociología de producción de mensajes 298 Puella Magi Madoka Magica 300 Metodología 301 Entre lo tradicional del mahō shôjo y la divergencia de Madoka Magica 302 Madoka Magica, las nuevas oscuras chicas mágicas 310 La influencia del anime en occidente: los mundos oníricos de Kon y Nolan 315 Elena Gil Escudier 315 De la producción nacional al mercado internacional 316 Animación nipona: calidad y referente para la industria americana 318 Satoshi Kon y su influencia en Christopher Nolan 331 Análisis comparativo de Paprika y Origen 334 Conclusiones 341 La violencia en el lenguaje fílmico de la serie de tv: Paranoia agent 345 Víctor Cerdán Martínez 345 Secuencia 1: Ataque a Hirukawa. 349 Secuencia 2: Ataque a Kawazu. 355 Discusión 360 Rurouni Kenshin: historias sobre la unificación del samurai a través de la muerte voluntaria en el Japón moderno 365 Andrés Camacho López 365 De la acción a la contemplación: breve introducción al bakufu Tokugawa 369 Contemplación: bocetos sobre el samurai de la cultura popular 372 De la contemplación a la acción: Rurouni Kenshin y el bakumatsu 376 De la acción a la unificación: interpretaciones sobre la muerte propia en la era Meiji 379 La última unificación 385 De Vietnam al Watergate: la andadura de Steve Englehart en el Capitán América 391 Marcos Rafael Cañas Pelayo 391 Breve presentación: un héroe para tiempos difíciles 392 Re-incorporación del mito al universo Marvel 395 El objetor de conciencia y las dos Américas 397 El espectro de Vietnam 401 El Imperio Secreto 404 El epílogo del nómada 410 Conclusiones: el legado de un período 413 SECCIÓN IV 418 CULTURAS Y NUEVOS CONSUMOS A PARTIR DE NARRATIVAS VISUALES 418 Entrecruces y perspectivas sobre la animación japonesa: ciencia Ficción, Tecnologías Digitales, Poder, Otakismo y Waifuismo 420 Federico Álvarez Gandolfi 420 Gerardo Ariel Del Vigo 420 Martín Ariel Gendler 420 Configuraciones socio-técnicas 422 Psycho Pass: la medición tecnológica del estrés como motor de la configuración socio-técnica 424 Ghost in the Shell: el alma como parámetro 429 Del análisis textual a las prácticas fan. O, cómo el otakismo atraviesa el consumo de anime 433 Sobre el waifuismo e Internet: el espacio seguro para el amor platónico, el amor fan, el amor real 444 Mercado, deseo, frustración 447 Nueva carne, nueva sexualidad, nuevo porno 450 Para pensar a futuro...s 453 El otaku: un intento de descripción mediada por el consumo global de manga/anime 459 Mario Javier Bogarín Quintana 459 El origen 460 El otaku 468 La estética de un gusto 473 La manipulación de colecciones 478 ¿“McDonalización”, “hibridación” o “transculturalismo crítico”?: Un debate teórico en torno a la circulación global e impacto del manganime. 489 Diego Labra 489 Un estado de la cuestión
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