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Cosplayers No Brasil: O Surgimento De Uma Nova Identidade Social Na Cultura De Massas

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Cosplayers No Brasil: O Surgimento De Uma Nova Identidade Social Na Cultura De Massas UNIVERSIDADE FEDERAL DO ESPIRITO SANTO - UFES PROGRAMA DE PÓS-GRADUAÇÃO EM PSICOLOGIA Cosplayers no Brasil: O Surgimento de Uma Nova Identidade Social na Cultura de Massas Leconte de Lisle Coelho Junior CAPES Vitória 2008 Leconte de Lisle Coelho Junior Cosplayers no Brasil: O Surgimento de Uma Nova Identidade Social na Cultura de Massas Tese submetida como requisito parcial para a obtenção do grau de Doutor em Psicologia, sob a orientação do Prof. Dr. Paulo Rogério Meira Menandro. UFES Vitória, Dezembro de 2008. Cosplayers no Brasil: O Surgimento de Uma Nova Identidade Social na Cultura de Massas Leconte de Lisle Coelho Junior Tese submetida ao Programa de Pós-Graduação em Psicologia da Universidade Federal do Espírito Santo, como requisito parcial para obtenção do grau de Doutor em Psicologia. Dados Internacionais de Catalogação-na-publicação (CIP) (Biblioteca Central da Universidade Federal do Espírito Santo, ES, Brasil) Coelho Junior, Leconte de Lisle, 1973- C672c Cosplayers no Brasil : o surgimento de uma nova identidade social na cultura de massas / Leconte de Lisle Coelho Junior. – 2008. 279 f. : il. Orientador: Paulo Rogério Meira Menandro. Tese (doutorado) – Universidade Federal do Espírito Santo, Centro de Ciências Humanas e Naturais. 1. Cosplayers. 2. Cultura popular – Japão. 3. Identidade social. I. Menandro, Paulo Rogério Meira. II. Universidade Federal do Espírito Santo. Centro de Ciências Humanas e Naturais. III. Título. CDU: 159.9 “Verifica-se praticamente em todo o mundo uma forte tendência no sentido de preservar ou alcançar a diversidade de características próprias e duma identidade específica”. (Henri Tajfel) Dedico este trabalho aos meus pais, Roziane Maria de Resende Coelho e Leconte de Lisle Coelho. Agradecimentos Agradeço ao Prof. Dr. Paulo Rogério Meira Menandro por ter-me aceito em seu grupo de pesquisa, principalmente na qualidade de doutorando. O período em que participei das suas aulas também foram de um grande aprendizado. Ao Prof. Dr. Sávio Silveira de Queiroz e à Profa. Dra. Maria Margarida Pereira Rodrigues pela participação na banca de qualificação e pelos apontamentos pertinentes ao projeto. Além disso, por terem aceito fazer parte da banca de doutoramento. E à Profa. Dra. Maria Cristina Smith Menandro, por suas aulas com as quais pude ter uma visão ampla das relações entre representações sociais e identidade social. Á Profa. Dra. Gabriela Maria Ramos Gonçalves que me recebeu em seu grupo de pesquisa na Universidade do Algarve, bem como às discussões sobre o tema. Agradeço ao Prof. Dr. Adriano Roberto Afonso do Nascimento da Universidade Federal de Minas Gerais pela leitura da tese e por ter aceito fazer parte da banca de defesa. Expando meus agradecimentos nos mesmos termos ao Prof. Dr. José Vaz Magalhães Néto da Universidade Federal da Paraíba, antigo mestre da graduação a quem reencontro mais uma vez. Á Profa. Dra. Norma Sandra de Almeida Ferreira, da Unicamp, pela leitura, correção do texto (responsabilizo-me pelos erros de idioma aqui porventura encontrados) e valiosos apontamentos que ajudaram a melhorar o material. Á Profa. Olívia Novoa Fernández, da Universidade do Algarve, por ter acompanhado o processo de construção deste trabalho, com paciência e compreensão. Aos meus amigos que também construíram e inspiraram este trabalho: Rosa Maria, Emiliano José, Eliana Guimarães, Maria do Socorro, Maria Genildes e Wilson. Á todos os cosplayers que aceitaram realizar as entrevistas nesta pesquisa, bem como àqueles que participaram dos pré-testes em São Paulo e Sergipe. Ao próceres e pioneiros da colonização japonesa no Brasil que neste ano completa seu centenário. Às funcionárias Maria Lúcia Ribeiro Fajóli e Karen Muniz Feriguetti da secretaria do Programa de Pós-Graduação em Psicologia Social e do Desenvolvimento da UFES. Aos funcionários dos serviços das bibliotecas da Unicamp, UFRGS, USP e Ualg. E à CAPES, agência de fomento que manteve o apoio financeiro indispensável ao trabalho aqui escrito, e que propiciou a partir do Programa de Doutorando no Brasil com Estágio no Exterior (PDEE) a minha estadia na cidade de Faro, em Portugal, bem como a possibilidade de continuar os estudos desta temática na Universidade do Algarve. RESUMO Este estudo enfoca a identidade social formada a partir de um grupo de cosplayers do estado do Espírito Santo. Os cosplayers são pessoas que se travestem com roupas de personagens de mangás (revistas em quadrinhos de origem japonesa), animes (desenhos animados de origem nipônica) e games diversos. Esta prática está suportada pela cultura popular japonesa inserida no meio social capixaba. A amostra contou com 12 informantes, com média de idade de 18,66 anos (DP = 1,44). Os principais resultados demonstram que existe uma tendência muito grande em se montar cosplays provenientes da mídia nipônica em detrimento de outras, os atributos psicológicos das personagens escolhidas aparentemente mantêm uma vantagem sobre outros aspectos ao se decidir por uma personagem. E finalmente estas pessoas sentem-se como sendo formadoras de um grupo social que se baseia em duas categorias estruturais interativas: “Performance” e “Diversão” que podem ser consideradas típicas da sociedade de entretenimento da cultura de massas. Palavras-chaves: cosplayers; cultura popular japonesa; identidade social. ABSTRACT This study aims at focusing on the social identity of a group of cosplayers in the brazilian state of Espírito Santo. Cosplayers are transvestites that wear gowns typical of the characters found in mangás (Japanese cartoon magazines), and animes (caricatures in several games of nipponese origin). This practice has been supported by the japanese popular culture inserted into the state’s social environment. The sample counted on 12 informers, in an average medium of 18,66 years of age (DP = 1,44). The main results show that there is a great tendency in creating cosplayers that come from the nipponese media in detriment of others. These chosen character’s chief psychological traits apparently maintain some advantage over other aspects when people decide upon a certain characterization. Finally, these people feel themselves as creators of a social group that is based on two structural interactive categories: “Performance” and “Diversion”, which can be considered as typical of the entertainment mass culture society. Key- words: cosplayers; japanese popular culture; social identity. RÉSUMÉ Cette étude traite d’identité sociale constituée à partir d’un groupe de cosplayers de l’État d’Espírito Santo (Brésil). Les cosplayers sont des gens qui se déguisent en personnages mangá (bandes dessinées japonaises), animes (dessins animés d’origine nipponne) et des jeux-vídeo. Celle-ci est une pratique habituelle au sein de la culture de la communauté japonaise d’Espírito Santo. L’échantillon a été formé par 12 individus, avec une moyenne d’âge de 18,66 ans (DP = 1,44). Les résultats démontrent l’existence d’une tendance assez grande de devenir cosplays dont la provenance sont les média japonaises, et qui, les caractéristiques psychologiques du personnage sont primordiales em choisissant le personnage. Et, finalement, que ces gens se sentent integres dans un groupe social base sur deux catégories: “Performance” et “Divertissement” ceux-ci sont considérées typiques de la société du divertissement au sein de la culture de masse. Mots-clés: cosplayers; culture populaire japonaise; identité sociale. SUMÁRIO INTRODUÇÃO 15 1. MEIOS DE COMUNICAÇÃO 20 1.1 - Desenvolvimento da Capacidade de Comunicação Humana 22 1.2 - Instrumentos da Cultura de Massa: Livro/Jornal/Revista, Rádio, Cinema, Televisão e Internet. 28 1.2.1- Os Livros, os Jornais e as Revistas (Magazines) 29 1.2.2- O Cinema 35 1.2.3- O Rádio 36 1.2.4- A Televisão 38 1.2.5- A Internet 40 1.3- Símbolos, Linguagem e Mídia. 42 2. COSPLAYERS: A IDENTIDADE SOCIAL 56 2.1- Uma Breve História do Japão e o Surgimento de sua Cultura Pop 56 2.2- Os Otakus e a Estética Cosplayer 79 2.3-Identidade Social 91 2.3.1- Teoria da Identidade Social de Michel Maffesoli 95 2.3.2- A Teoria da Identidade Social de Antony Giddens 99 2.3.3- Teoria da Identidade Social de Henry Tajfel 106 3. MÉTODO 112 3.1 – Objetivos da Investigação e Fontes de Informação 112 3.2 – Características dos Participantes 114 3.3- Instrumento 115 3.4 - Procedimento 116 3.5 - Análise de Dados 116 4. RESULTADOS E DISCUSSÃO 119 5. CONCLUSÃO 162 REFERÊNCIAS BIBLIOGRÁFICAS 167 ANEXOS 182 LISTA DE QUADROS QUADRO 1 - AMOSTRA 115 QUADRO 2 - PRODUÇÕES DOS COSPLAYERS 120 QUADRO 3 - ORIGEM DOS COSPLAYS 121 QUADRO 4 - IMPORTÂNCIA DO COSPLAY NO USO DA INTERNET 123 QUADRO 5 - TEMPO DE CONTATO COM MANGÁS E ANIMES 125 QUADRO 6 – CATEGORIAS DE SITUAÇÕES RECONHECIDAS PELOS PARTICIPANTES COMO SENDO O PRIMEIRO CONTATO COM O “MUNDO COSPLAY” 126 QUADRO 7 - CATEGORIAS DE PALAVRAS EVOCADAS E ORDEM DE EVOCAÇÃO, POR PARTICIPANTE. 139 QUADRO 8 - PARTICIPAÇÃO EM OUTRO TIPO DE GRUPO 142 QUADRO 9 - MOTIVAÇÃO PARA A ESCOLHA DO PERSONAGEM 145 QUADRO 10 - RELACIONAMENTO AFETIVO E REPRESENTAÇÃO SOBRE COSPLAY 147 QUADRO 11 – REAÇÃO DE AMIGOS E COLEGAS DE ESCOLA DO PARTICIPANTE À SUA PRÁTICA DE COSPLAY 149 QUADRO 12 – REAÇÃO DA FAMÍLIA DO PARTICIPANTE À SUA PRÁTICA DE COSPLAY 154 LISTA DE FIGURAS FIGURA 1- CULTURA E DISPERSÃO DE SEUS CONTEÚDOS. 52 FIGURA 2 – FACETAS DA IDENTIDADE COSPLAY 141 INTRODUÇÃO O interesse em realizar esta pesquisa começou a se formar no ano de 2002 quando me deparei com alguns mangás (revistas em quadrinhos de origem japonesa) em uma banca de jornal próxima a minha casa, na cidade de João Pessoa. Imediatamente após experimentar o sentimento de surpresa pensei que aqueles títulos derivados de alguns desenhos animados exibidos na televisão brasileira (no caso eram Cavaleiros do Zodíaco, Card Captors Sakura e Dragon Ball) seriam uma moda passageira. Imaginei que algumas editoras poderiam ter publicado aquele material como uma maneira mais rápida de lucrar algum dinheiro por um curto tempo. Este tipo de pensamento me ocorreu, pois afinal de contas o mercado editorial brasileiro sempre esteve à mercê dos comics estadunidenses.
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