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Efeito Camaleão: a Construção Midiática De David Bowie E Seus Personagens E Personas

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Efeito Camaleão: a Construção Midiática De David Bowie E Seus Personagens E Personas 0 MARIANA BENTO BENETI Efeito camaleão: a construção midiática de David Bowie e seus personagens e personas PUC-CAMPINAS 2018 0 0 MARIANA BENTO BENETI Efeito camaleão: a construção midiática de David Bowie e seus personagens e personas Dissertação apresentada como requisito para obtenção do grau de Mestre no curso de Pós-Graduação Stricto Sensu em Linguagens, Mídia e Arte da Pontifícia Universidade Católica de Campinas. Orientadora: Profa. Dra. Márcia Eliane Rosa PUC-CAMPINAS 2018 0 Scanned by CamScanner Ficha catalográfica elaborada por Marluce Barbosa – CRB 8/7313 Sistemas de Bibliotecas e Informação – SBI – PUC-Campinas t780.07 Beneti, Mariana Bento. B465e Efeito camaleão: a construção midiática de David Bowie e seus personagens e personas / Mariana Bento Beneti. - Campinas: PUC- Campinas, 2018. 105f. Orientadora: Márcia Eliane Rosa. Dissertação (mestrado) - Pontifícia Universidade Católica de Campi- nas, Centro de Linguagem e Comunicação, Pós-Graduação em Lingua- gens, Mídia e Arte. Inclui bibliografia. 1. Música e sociedade. 2. Bowie, David, 1947-2016. 3. Personagens e características na arte. 4. Músicos. 5. Performance (Arte) I. Rosa, Márcia Eliane. II. Pontifícia Universidade Católica de Campinas. Centro de Linguagem e Comunicação. Pós-Graduação em Linguagens, Mídia e Arte. III. Título. 22. ed. CDD – t780.07 2 DEDICATÓRIA Nem à uma pessoa nem à várias; dedico este trabalho à um momento: àquele em que Major Tom pousou nas notas do meu violão, na cozinha de amigos, no celular do meu pai, na trilha sonora de um filme, na dúvida de uma curiosidade, e cada vez menos fictício do que ele realmente foi. 2 2 AGRADECIMENTOS Antes de todos os agradecimentos formais e informais, tenho a necessidade de regraciar a Deus, que me coloca sempre no melhor caminho, com dificuldades e aprendizados importantes para mim. Agradeço a Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES), que me ajudou com bolsa durante todo o percurso de mestrado até minha defesa. Obrigada Márcia Rosa, minha mentora, que me acompanhou desde a primeira ideia só com Major Tom até todo o desenvolvimento do trabalho que tenho em mãos. Você não só abraçou um projeto de iniciação científica como também ajudou uma menina a compreender todos os passos de um processo acadêmico – mesmo que eu tenha relutado em alguns momentos e você tenha que repetir algumas muitas porções de vezes. Me sinto a pessoa mais grata de todas ao escrever meus agradecimentos a minha família. São tantos que se começar a citar nomes individuais, outra nova dissertação deveria ser escrita, então vou me atentar aos mais próximos: pai, mãe e irmãs. Obrigada por serem o carinho quando precisava de calma e o chocalho quando precisava de atenção; em todos os instantes desses dois anos. Agradecer aos meus amigos em textos diversos está passando a ser comum para alguns deles, e ainda sim nada deixa de ser tocante para mim, portanto aqui também aproveito para abraçar a todos de uma só vez, sem parágrafos nem paráfrases para específicos. Obrigada! 3 2 Nem todos os que vagueiam estão perdidos – J. R. R. Tolkien 4 2 RESUMO A presente dissertação mostra um estudo da construção artística e midiática dos sete personagens principais de David Bowie (estes criados entre os anos de 1960 e 1980) com abordagens comuns entre si, como vida e morte durante o percurso de singles, relações com a sociedade, consumo e mídia. Afim de compreender este cenário de relações entre personagens e personas, trabalho apresenta um contexto histórico sobre a vida e trabalho de Bowie (através do olhar de biógrafos e de documentários), segue relatando uma visão de pesquisa de campo da exposição itinerante David Bowie is, para, enfim, chegar em uma abordagem de conflito entre as narrativas principais: a exposição criada pelo museu Victoria and Albert (David Bowie is) e a fanfiction criada pela autora. Dessa forma, foram observadas semelhanças de tratamento de Bowie como um ícone pop e no usufruir da mídia e consumo, como também a pesquisa mostra significativas distinções quando se trata da morte dos personagens e personas de David Bowie. É realizada uma análise do contexto social do morrer de um artista e o “morrer de uma máscara”, como era o caso da construção e reconstrução das personas de Bowie. Palavras-chave: David Bowie; David Bowie is exposition; fanfiction; exposição itinerante; morrer. 5 2 ABSTRACT The present dissertation shows a study of the artistic and mediatic construction of the seven main characters of David Bowie (those created between the 1960s and 1980s) with common approaches such as life and death during singles, relationships with society, consumption and media. In order to understand this scenario of relations between characters and personas, this paper presents a historical context about Bowie's life and work (through the eyes of biographers and documentaries), continues to relate to a field research vision of the traveling exhibition David Bowie is, to finally arrive at a conflict approach between the main narratives: the exposition created by the museum Victoria and Albert (David Bowie is) and the fanfiction created by the author. In this way, Bowie's similarities as a pop icon and the use of the media and consumption were observed, as well as this research shows significant distinctions when it comes to the death of the characters and people of David Bowie. An analysis of the social context of the death of an artist and the "dying of a mask" is carried out, as was the case of the construction and reconstruction of the people of Bowie. Keywords: David Bowie; David Bowie is exposition; fanfiction; itinerant exposition; death. 6 2 LISTA DE IMAGENS IMAGEM 1 ............................................................................................................... 29 IMAGEM 2 ............................................................................................................... 34 IMAGEM 3 ............................................................................................................... 36 IMAGEM 4 ............................................................................................................... 38 IMAGEM 5 ............................................................................................................... 41 IMAGEM 6 ............................................................................................................... 44 IMAGEM 7 ............................................................................................................... 47 IMAGEM 8 ............................................................................................................... 58 IMAGEM 9 ............................................................................................................... 70 IMAGEM 10 ............................................................................................................. 71 IMAGEM 11 ............................................................................................................. 74 7 8 LISTA DE TABELAS TABELA 1 ................................................................................................................. 24 TABELA 2 ................................................................................................................. 54 TABELA 3 ................................................................................................................. 67 TABELA 4 ................................................................................................................. 75 TABELA 5 ................................................................................................................. 76 TABELA 6 ................................................................................................................. 88 TABELA 7 ................................................................................................................. 89 8 8 SUMÁRIO INTRODUÇÃO ................................................................................................... 10 1. David Bowie nas décadas de 60-80 a partir de seus personagens .................. 15 1.1 David Robert Jones na criação de David Bowie ..................................................... 18 1.1.1 Construções midiáticas de Bowie ............................................................ 21 1.2 Personagens e personas ......................................................................................... 23 1.2.1 Major Tom .............................................................................................. 27 1.2.2 Ziggy Stardust......................................................................................... 30 1.2.3 Aladdin Sane .......................................................................................... 35 1.2.4 Halloween Jack ....................................................................................... 37 1.2.5 The Thin White Duke ............................................................................. 39 1.2.6 Pierrot (Pierrô) ........................................................................................ 42 1.2.7 Buttoneyed .............................................................................................. 45 1.3 David Bowie e Andy Warhol: as faces de um ícone pop ........................................ 48 1.4 A máscara de uma persona .................................................................................... 53 2. Exposição David Bowie is ...............................................................................
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