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Henshin: Elementos visuales, narrativos y culturales Tokusatsu adaptados en producciones audiovisuales no orientales mainstream: Power Rangers y Pacific Rim. Item Type info:eu-repo/semantics/bachelorThesis Authors Muñoz Tancún, Gabriel Alexander Publisher Universidad Peruana de Ciencias Aplicadas (UPC) Rights info:eu-repo/semantics/openAccess; Attribution- NonCommercial-ShareAlike 4.0 International Download date 06/10/2021 17:34:30 Item License http://creativecommons.org/licenses/by-nc-sa/4.0/ Link to Item http://hdl.handle.net/10757/653936 UNIVERSIDAD PERUANA DE CIENCIAS APLICADAS FACULTAD DE COMUNICACIONES PROGRAMA ACADÉMICO DE COMUNICACIÓN AUDIOVISUAL Y MEDIOS INTERACTIVOS Henshin: Elementos visuales, narrativos y culturales Tokusatsu adaptados en producciones audiovisuales no orientales mainstream: Power Rangers y Pacific Rim. TESIS Para optar el título profesional de Licenciado en Comunicación Audiovisual y Medios Interactivos AUTOR Muñoz Tancún, Gabriel Alexander (0000-0002-2672-8820) ASESOR Gomero Correa, Giancarlo (0000-0001-6777-0999) Lima, 02 de Noviembre del 2020 1 DEDICATORIA A Mariella, Jaime y Ximena por el aliento que permitió aventurarme en este reto. A Pablo, García y Alma por las risas durante toda esta etapa. A todas esas personas que forman parte de mi gran universo. Cada uno de ustedes ha aportado de una manera u otra a convertirme en el héroe que quiero llegar a ser. 2 AGRADECIMIENTOS A mi asesor, quien estuvo pendiente de las dudas que tenía y me encaminó a lograr este documento: Giancarlo Gomero. A Lissette Ponce, quien su dedicación por difundir el Tokusatsu la llevó a ser una fuente de información para esta investigación. A Aldo Salvini, quien amablemente se interesó en mi investigación y me permitió usar su experiencia para este proyecto. A Mario Sánchez y Gabriel Calderón, que me dieron un momento de su tiempo para obtener información vital. A todos mis compañeros de carrera que, con su amistad y buenos deseos, me dieron los ánimos de seguir adelante con un proyecto de investigación que virtualmente era imposible, especialmente a Pablo Peña, Gabriel García, Alma Rodríguez, Liliana Vílchez, Sergio Ochoa, Raúl López y Diego Thais. 3 Henshin: Elementos visuales, narrativos y culturales Tokusatsu adaptados en producciones audiovisuales no orientales mainstream: Power Rangers y Pacific Rim. RESUMEN Las producciones Tokusatsu japonesas cuentan con características que las hacen diferentes a otros tipos de contenidos, sin embargo, son poco conocidas en la cultura occidental. Desde la década de los 90, el Tokusatsu llega a América con la adaptación de la franquicia Super Sentai. Bajo el nombre de Power Rangers, este tipo de producciones lograron tener éxito comercial en occidente. Ello permitió un boom de producciones occidentales con características Tokusatsu con el objetivo de éxito comercial. Hasta hoy, mucha gente desconoce el origen de este tipo de contenido. Esta investigación busca contribuir en la difusión del Tokusatsu mediante el análisis de la forma en la que dos películas, Pacific Rim (2013) y Power Rangers (2014) adaptan las características del Tokusatsu en su propuesta audiovisual. Gracias al estudio cualitativo mediante entrevistas a Lissett Ponce, difusora del Tokusatsu en Perú, y a Aldo Salvini, director de cine, se pudo reafirmar características presentes en las producciones Tokusatsu. Además, el uso de la escala de Likert permite analizar cómo las características Tokusatsu son adaptadas en dichas películas a través de similitudes y diferencias con una producción Tokusatsu como Zyuden Sentai Kyoryuger (2014). Pudimos concluir en que existe un proceso de hibridación cultural en la adaptación del Tokusatsu japonés en las películas analizadas. Pacific Rim presenta un proceso de adaptación intercultural de dichas características. Por el otro lado, Power Rangers presenta un proceso de adaptación transcultural. Además, se propone la existencia de modelos de adaptación en base los fenómenos de hibridación cultural dichas películas. Palabras clave: Tokusatsu, Industria Cultural, Adaptación, Globalización, Pacific Rim, Power Rangers, Interculturalidad, Transculturalidad. 4 Henshin: Tokusatsu´s visual, narrative and cultural elements adapted in mainstream not oriental audiovisual productions: Power Rangers and Pacific Rim. ABSTRACT Tokusatsu productions have features that make them different tan other types of contents, but they are not well known in occidental culture. Since 90´s decade, Tokusatsu arrives to America with the adaptation of the Super Sentai franchise. With the name Power Rangers, this type of productions got comercial success in occident. That allowed a large amount of productions to be made with this feature with the comercial success objective. Until today, lots of peole is not aware about the origin of this type of content. This research wants to contribute to Tokusatsu´s difusión through the analysis of the way that Tokusatsu features are adapted in the audiovisual approach of two movies: Pacific Rim (2013) and Power Rangers (2014). Thanks to cualitative study through interviews to Lissette Ponce, Tokusatsu diffusor in Perú, and Aldo Salvini, film director, we can reaffirm the features of Tokusatsu productions. Also, the use of the Likert´s Scale allow us to analyze how the Tokusatsu features are adapted in those movies through similarities and differences with a Tokusatsu production as Zyuden Sentai Kyoryuger (2014). We concluded that exists a cultural hybridazation process of the japanese Tokusatsu in the analyzed movies. Pacific Rim presents a intercultural adaptation process of those features. For the other side, Power Rangers presents a transcultural adaptation process. Also, is proposed the existence of adaptation models in base of the cultural hybridazation phenomenon seeing in those movies. Keywords: Tokusatsu, Cultural Industries, Adaptation, Globalization, Pacific Rim, Power Rangers, Interculturality, Transculturality. 5 ÍNDICE 1 INTRODUCCIÓN ..................................................................................................... 15 1.1 ELECCIÓN DEL TEMA: ........................................................................................... 19 1.2 JUSTIFICACIÓN: .................................................................................................... 19 1.3 FORMULACIÓN DEL PROBLEMA: ........................................................................... 20 1.4 OBJETIVOS: ........................................................................................................... 20 1.4.1 Objetivo principal: ........................................................................................... 20 1.4.2 Objetivos específicos: ...................................................................................... 20 1.5 SUPUESTOS ........................................................................................................... 21 1.6 LIMITACIONES ...................................................................................................... 21 1.7 RESULTADOS ESPERADOS ..................................................................................... 21 2 ESTADO DE LA CUESTIÓN .................................................................................. 22 2.1 “KAMEN RIDER VS SPIDERMAN AND BATMAN” (SE YOUNG KIM, 2017). ................. 22 2.2 “LA ADAPTACIÓN FÍLMICA DEL CÓMIC EN EL CONTEXTO DEL CINE JAPONÉS CONTEMPORÁNEO” (FRANCISCO LÓPEZ, 2016). ................................................................ 22 2.3 “THE EMERGENCE OF THE MIGHTY MORPHIN POWER RANGERS” (GINA O´MELIA, 2019). 23 3 MARCO HISTÓRICO ............................................................................................. 24 3.1 EL ORIGEN DEL TOKUSATSU: ................................................................................. 24 3.1.1 Kabuki: ............................................................................................................ 24 3.1.2 Bunraku: .......................................................................................................... 27 3.2 EL AYER Y HOY DEL TOKUSATSU: .......................................................................... 28 3.2.1 Definición, tipos y características del Tokusatsu: ........................................... 28 3.2.2 Primeros referentes: ......................................................................................... 29 3.2.3 Situación actual: .............................................................................................. 30 3.2.4 De Japón a América:........................................................................................ 37 3.2.5 Perspectiva occidental en el consumo de contenido oriental: ......................... 41 3.2.6 El superheroismo americano: .......................................................................... 42 4 MARCO TEÓRICO .................................................................................................. 46 4.1 CUESTIONES CULTURALES E IMPACTO DE LA GLOBALIZACIÓN: ............................ 46 4.1.1 Diversidad cultural y diversidad audiovisual: ................................................. 47 6 4.2 HIBRIDACIONES CULTURALES Y SUS VARIANTES: ................................................. 48 4.3 LAS INDUSTRIAS CULTURALES EN PRODUCCIONES AUDIOVISUALES OCCIDENTALES: 50 4.4 LA ADAPTACIÓN DE CONTENIDOS: ........................................................................ 53 4.4.1 Tipos de Adaptación: ......................................................................................
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