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Universidade Federal Fluminense Pró-Reitoria De Pesquisa E Pós-Graduação Programa De Pós-Graduação Em Comunicação

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Universidade Federal Fluminense Pró-Reitoria De Pesquisa E Pós-Graduação Programa De Pós-Graduação Em Comunicação UNIVERSIDADE FEDERAL FLUMINENSE PRÓ-REITORIA DE PESQUISA E PÓS-GRADUAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO EM COMUNICAÇÃO MELINA MEIMARIDIS DISSECANDO A ESTRUTURA NARRATIVA DOS SERIADOS MÉDICOS AMERICANOS Niterói 2017 MELINA MEIMARIDIS DISSECANDO A ESTRUTURA NARRATIVA DOS SERIADOS MÉDICOS AMERICANOS Dissertação apresentada ao Programa de Pós- Graduação em Comunicação da Universidade Federal Fluminense como requisito parcial para obtenção do Título de Mestre em Comunicação. Área de Concentração: Mídia, Cultura e Produção de Sentido. Orientador: Prof. Dr. Afonso de Albuquerque Niterói 2017 ii Ficha Catalográfica elaborada pela Biblioteca Central do Gragoatá M513 Meimaridis, Melina. Dissecando a estrutura narrativa dos seriados médicos americanos / Melina Meimaridis. – 2017. 163 f. : il. Orientador: Afonso de Albuquerque. Dissertação (Mestrado em Comunicação) – Universidade Federal Fluminense, Instituto de Arte e Comunicação Social, 2017. Bibliografia: f. 146-159 1. Televisão. 2. Programa de televisão. 3. Estados Unidos. 4. Narrativa. I. Albuquerque, Afonso de. II. Universidade Federal Fluminense. Instituto de Arte e Comunicação Social. III. Título. iii MELINA MEIMARIDIS DISSECANDO A ESTRUTURA NARRATIVA DOS SERIADOS MÉDICOS AMERICANOS Dissertação apresentada ao Programa de Pós- Graduação em Comunicação da Universidade Federal Fluminense como requisito parcial para obtenção do Título de Mestre em Comunicação. Área de Concentração: Mídia, Cultura e Produção de Sentido. BANCA EXAMINADORA _____________________________________________________ Prof. Dr. Afonso de Albuquerque (Orientador) Universidade Federal Fluminense _____________________________________________________ Profa. Dra. Mayka Juliana Castellano Reis (Examinador) Universidade Federal Fluminense _____________________________________________________ Prof. Dr. Igor Pinto Sacramento (Examinador) Fundação Oswaldo Cruz Niterói 2017 iv Aos meus pais por todo o apoio ao longo dessa jornada. v AGRADECIMENTOS Esse trabalho só foi possível graças ao apoio, carinho, amizade e cuidado de muitas pessoas. Em primeiro lugar gostaria de agradecer a Deus e a minha família por me ampararem nos momentos difíceis e me suprirem em todas as minhas necessidades ao longo desses anos em Niterói. Ao meu orientador Afonso de Albuquerque que me introduziu ao mundo da academia em 2011 e tem continuamente me ajudado. Toda a atenção do Afonso e seu perfeccionismo foram fundamentais para a elaboração dessa dissertação. Dentre todos os seus ensinamentos ao longo desses anos, sou grata, principalmente, por ele me “ensinar a pensar”. À minha amiga Mayka Castellano agradeço por todas as valiosas dicas, conselhos e ensinamentos. A cada vírgula corrigida nesse último ano e ao longo da matéria que dividimos na graduação, posso afirmar que aprendi muito. Serei sempre a Claire Dunphy para a Monica Geller da Mayka. Aos amigos do Koni Club, Daniela Mazur, Alessandra Vinco e Daniel Rios, minhas irmãs e meu irmão da vida acadêmica, agradeço por poder compartilhar de toda essa caminhada com vocês. Aos Chicos, Deborah Santos, João Hélder, Denis Lubian e Jeanie Rangel, amigos que uniram a minha paixão por jogos com a gastronomia. À Juliana Saboia, minha médica/musa inspiradora. Eu não teria escrito uma página sem seu constante apoio e incentivo. À família Jasbick Tonack, que me adotou nesses anos aqui em Niterói. Às Seriadoras, Bárbara Guimarães, Rebeca Machado, Siena Costa e Thaís Lobato, nossas maratonas mensais me revelaram o poder que as séries têm de unir as pessoas. Agradeço a cada uma de vocês por esse ano incrível que tivemos assistindo Grey’s Anatomy, Modern Family e Gilmore Girls. Às Babies, Joanna Martins, Andressa Franceschett, Eduarda Gonsalez, Isabella Lupatini e Manuela Araújo por sempre estarem na torcida. À Ohanna Sant’Anna, obrigada pelo apoio e pela confiança em mim. À Paula Fernandes, que me deu todo o apoio ao longo desse processo, Lapidus! Aos membros do Série Clube, agradeço por nossas atividades e espero que essa dissertação possa servir de inspiração para futuras pesquisas sobre ficção seriada vi televisiva. Aos alunos das matérias Oficina de Realização em Ficção Seriada e a turma de Ficção Seriada II que tive o privilégio de lecionar ao longo do mestrado. Aprendi muito com nossas trocas semanais. Aos amigos e professores do PPGCOM-UFF, Camilla Tavares, Marcelo Alves, Diógenes Lycarião, Thaiane Oliveira e Beatriz Polivanov que compartilharam dessa experiência comigo. Agradeço ainda à produtora Segunda-Feira Filmes e aos meus chefes Homer, Lígia, Ale, Alvaro e Davi. Obrigada pela grande oportunidade de aprendizado ao longo de todos esses anos na produtora. À Igreja Presbiteriana Betânia Litorânea e aos amigos da minha caminhada cristã Daniel Athayde, Bruna Moraes, Fernando Torres e Gabriela Machado. vii “Have some fire. Be unstoppable. Be a force of nature. Be better than anyone here and don't give a damn about what anyone thinks” (Cristina Yang, Grey’s Anatomy) viii RESUMO Este trabalho se propõe a aprofundar a discussão em torno da ficção seriada televisiva americana a partir da análise de um de seus principais representantes: os workplace dramas médicos. As narrativas seriadas médicas têm demonstrado grande versatilidade e longevidade na televisão americana, em torno de cem produções foram realizadas desde a década de 1950. Com base em um extenso levantamento bibliográfico, buscou-se aqui compreender as razões por trás da versatilidade dessas narrativas. Argumenta-se que esse modelo narrativo é estruturado a partir de um mecanismo combinatório que possibilita a criação de “infinitas” cópias distintas. Esse mecanismo é baseado em um grupo limitado de convenções. O trabalho aqui apresentado mapeou as convenções e realizou um estudo de caso de dois dramas médicos de sucesso na atualidade: House, M.D e Grey’s Anatomy. Observou-se que a medicina se configura como uma proposta coerente, apesar da grande variedade de narrativas proporcionadas, devido, especialmente, ao papel estruturador da instituição médica ficcional nessas produções. Além disso, o ambiente médico se configura como um campo do extraordinário nessas narrativas, permitindo explorar as subjetividades da existência humana e os dilemas do cotidiano. Palavras-Chave: Televisão; Ficção Seriada; Instituições; Grey’s Anatomy; House, M.D ix ABSTRACT This study proposes to deepen the discussion concerning American television serial fiction from the analysis of one of its main representatives: workplace medical dramas. Medical serial narratives have shown great versatility and longevity on American television; there have been around one hundred productions since the 1950s. Based on an extensive review of the literature, we aimed to understand the reasons behind the versatility of these productions. It is argued that this narrative model is structured around a combinatorial mechanism that allows for the creation of "infinite" distinct copies. This mechanism is based on a limited set of conventions. This study mapped out these conventions and used them to analyze two successful medical dramas: House, M.D and Gray's Anatomy. It was observed that medicine constitutes a coherent backdrop, despite the great variety of narratives it provides, mainly due to the structuring role of the medical fictional institution in these productions. In addition, the medical environment is configured as a field of the extraordinary in these narratives, which allows exploring the subjectivities of the human existence and its daily dilemmas. Keywords: Television; Television Series, Institutions, Grey’s Anatomy, House, M.D x ÍNDICE DE FIGURAS Figura 1: Frame do episódio t02:ep07 de How I Met Your Mother exibido em 2006............................................................................................................... 38 Figura 2: Frame do episódio t02:ep07 de How I Met Your Mother exibido durante reprises da série em 2011............................................................................................. 38 Figura 3: Primeiro protótipo – Episódios distintos com os mesmos personagens, mas sem uma narrativa contínua.......................................................................... 67 Figura 4: Segundo protótipo – Episódios autônomos, a série inteira possui um objetivo Narrativo....................................................................................................... 68 Figura 5: Terceiro protótipo – Episódios autônomos, tempo narrativo em expansão, progressão dos personagens ao longo da série............................................. 69 Figura 6: Quarto protótipo – Séries com uma variação temática que produz um efeito palimpsesto................................................................................................... 70 Figura 7: Quinto protótipo – Episódios contínuos com múltiplas formações narrativas....................................................................................................... 70 Figura 8: Frame do drama Dr. Kildare......................................................................... 86 Figura 9: Frame da 3ª temporada de M*A*S*H em que um dos médicos comanda uma barraca beijo................................................................................................... 88 Figura 10: Frame da 3ª temporada de M *A*S*H em que os médicos estão confraternizando...........................................................................................88 Figura 11: Frame da 4ª temporada de M*A*S*H em que o Dr. Dr. Hawkeye está atendendo um paciente.............................................................................
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