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Autorreferencialidade Narrativa Um Estudo Sobre Estratégias De Complexificação Na Ficção Televisual

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Autorreferencialidade Narrativa Um Estudo Sobre Estratégias De Complexificação Na Ficção Televisual Pontifícia Universidade Católica de São Paulo PUC-SP Letícia Xavier de Lemos Capanema Autorreferencialidade Narrativa Um estudo sobre estratégias de complexificação na ficção televisual Doutorado em Comunicação e Semiótica São Paulo 2016 Letícia Xavier de Lemos Capanema Autorreferencialidade Narrativa Um estudo sobre estratégias de complexificação na ficção televisual Doutorado em Comunicação e Semiótica Tese apresentada à Banca Examinadora da Pontifícia Universidade Católica de São Paulo, como exigência parcial para obtenção do título de Doutor em Comunicação e Semiótica - Signo e Significação nos Processos Comunicacionais, sob a orientação da Profa. Dra. Maria Lúcia Santaella Braga. São Paulo 2016 Banca Examinadora _______________________________________________________ ______________________________________________________ _____________________________________________________ _____________________________________________________ _____________________________________________________ _____________________________________________________ Dedicatória Para Daniel, cuja história está entrelaçada à minha. Agradeço ao CNQP e à CAPES pelas bolsas de pesquisa e de estágio doutoral. Agradecimentos À Dalka e Geraldo Capanema Ao Daniel À Luciana, ao Ricardo, ao Arthur, à Márcia, à Bia, à Cecília À Leila, à Dani, à Clara, ao Theo À Lúcia Santaella Aos professores Arlindo Machado, Patrícia Moran, Vicente Gosciola, Marcus Bastos, Winfried Nöth, Adalberto Muller, Erick Felinto Ao François Jost Ao John Pier À Cida À PUCSP À Sorbonne Nouvelle À APEBFr Ao alunos e professores do curso de Rádio e TV da FIAM FAAM Aos amigos Ananda Carvalho, Johan Cavalcanti, Heloísa Pereira, Maria Angélica Ribeiro, Pablo Villavicencio, Carla Torres, Mariana Souza, Carol Assunção, Thiago Máximo, Weiny, Beatriz, Maria Clara, Carla, Igor, Manu, Caio Resumo Esta pesquisa trata do tema da narratologia da televisão e parte do constatação de que a produção ficcional televisual tem se complexificado nas últimas décadas. Considerando que o fenômeno da complexidade comparece em ficções de naturezas distintas (orais, cênicas, escriturais, fílmicas, televisuais ou hipermidiáticas), quais seriam as características que permitem que certas obras sejam classificadas como narrativas complexas? Haveria uma lógica subjacente que as orienta, interligando-as? Esta tese sustenta a existência de uma lógica fundamental da narrativa complexa que perpassa todas as suas manifestações concretas: a autorreferencialidade, isto é, o movimento de voltar-se sobre si, gerando, em consequência, a recepção metarreflexiva por parte do público. Por esse caminho investigamos, como objetivos específicos, a relação entre a narrativa complexa e o fenômeno da autorreferencialidade, bem assim, seus mecanismos e efeitos no campo da televisão. O objetivo principal desta tese é alcançar um conceito preciso de complexificação narrativa na ficção televisual que contribua para a solidificação de uma narratologia da televisão. Este estudo tem como objeto teórico a noção de narrativa complexa e como objeto empírico as manifestações de complexidade narrativa na ficção literária, fílmica e, principalmente, a ficção televisual. Elegemos como corpus a série estadunidense Twin Peaks. Com o intuito de esclarecer conceitos específicos, outras obras televisuais são brevemente examinadas. Nossa ferramenta metodológica apoia-se no modelo do círculo mimético de Paul Ricoeur e na narratologia de Gérard Genette, essa última adaptada por André Gaudreault e François Jost para aplicação ao campo audiovisual. Nossa argumentação teórica sobre a relação entre narrativa complexa e autorreferência se inspira nos estudos de Affonso Romano de Sant'Anna e de diversos outros autores que também tematizam a autorreferência nos campos da literatura, do cinema e da televisão. O princípio da autorreferencialidade, seus tipos, modos e níveis de atuação são por nós explorados com base nas abordagens de Werner Wolf e de Winfried Nöth. Os resultados alcançados nesta pesquisa permitem-nos concluir que a narrativa complexa é um fenômeno decorrente de estratégias autorreferenciais presentes nas instâncias do conteúdo, da estrutura e do ato narrativo. Palavras-chave : Narrativa Complexa; Autorreferência; Narratologia; Ficção Televisual; Twin Peaks; Abstract This research investigates the television narratology starting from the fact that the fictional production in television has become more complex in recent decades. Considering that the phenomenon of fiction complexity manifests in a distinct sort of supports (oral, scenic, book, cinematic, televisual or hypermedia), what are the features that allow certain works to be classified as complex narratives? There would be an underlying logic that guide and connect them? This thesis holds the hypothesis that there is a fundamental logic of complex narrative permeating all its concrete manifestations: the self-referentiality, namely, the movement of turning back on itself, generating a metareflective reception by the public. Therefore, the specific objective is to investigate the relationship between the complex narrative and the self- referentiality, as well as its mechanisms and effects in television studies. The main objective of this thesis is to achieve a precise concept of narrative complexity in fiction television that contributes to the solidification of its narratology. The theoretical object of this study is the notion of complex narrative and the empirical object are the manifestations of the narrative complexity in literary fiction, filmic fiction and especially the televisual fiction. The corpus is the american TV series Twin Peaks. In order to clarify some specific concepts, other television programs are briefly examined. Our methodological procedure relies both on Paul Ricoeur's mimetic circle model and on the narratology of Genette, adapted by André Gaudreault and Francois Jost for audiovisual application. Our theoretical argument about the relationship between the complex narrative and the self-reference is based on Alfonso Romano de Sant'Anna and several other authors who also analyzed self-reference in literature, film and television. The principle of self-referentiality, its types, modes and performance levels are explored based on the approaches of Werner Wolf and Winfried Nöth. The results achieved in this study allow us to conclude that the complex narrative is a phenomenon resulting from self-referential strategies present in instances of content, structure and the narrative act. Keywords: Complex Narrative; Self-reference; Narratology; Televisual fiction; Twin Peaks. Lista de figuras Figura 1: Sistema actancial proposto por Algirdas Julien Greimas em seu estudo sobre a Semântica Estrutural (1973, p. 236) _________________________________________________________37 Figura 2: Síntese do modelo narrativo proposto por Genette em “Discours du Récit”, presente no livro Figures III (1972)._________________________________________________________________________40 Figura 3: Modelo semiopragmático de Roger Odin (2011, p. 19)____________________________________ 57 Figura 4: O filme como processo fenomenal da narração. Esquema proposto por David Bordwell (1985, p. 50)______________________________________________60 Figura 5: Modelo para análise da narrativa televisual proposto por esta tese____________________________83 Figura 6: Tradução e adaptação nossa do esquema de Werner Wolf (2007, p. 268). ____________________ 128 Figura 7: Diagrama que representa os níveis narrativos.___________________________________________145 Figura 8: Digrama dos níveis narrativos do romance Dom Casmurro.________________________________146 Figura 9: Imagens retiradas da cena em que o narrador (Dom Casmurro) toca as mãos de um de seus personagens (Bentinho). _______________________________________________________150 Figura 10: Imagens retiradas da série Capitu que exemplificam os três tipos de focalização (pontos de vista a partir do narrador implícito; do narrador explícito [Dom Casmurro] e do personagem narrado [Bentinho]).___________________________________________151 Figura 11: Las Meninas de Diego Velasquez, 1656. O quadro se encontra atualmente no Museu do Prado em Madri_______________________________________________________________156 Figura 12: Tabela de nossa autoria que sintetiza a classificação da mise en abyme proposta por Dällenbach (1977)_______________________________________________ 159 Figura 13: Imagens retiradas do episódio Homer na TV (EP14; TP08]) da série Os Simpsons. ____________ 161 Figura 14: Imagem retirada do episódio História quase sem fim (EP13; TP17) da série Os Simpsons. _________________________________________________________ 163 Figura 15: Imagens do seriado Armação Ilimitada que ilustram o uso de “balões” e a presença de Black Boy, locutora da Rádio Atividade que interrompe os episódios para comentá-los. __________________________ 168 Figura 16: Imagens do episódio O pai do bacana (Armação Ilimitada – E31) que parodia o filme de Orson Welles, Cidadão Kane (1941). ________________________________________________ 169 Figura 17: Modelo de François Jost (2010, p. 40) que sintetiza os três mundos a partir dos quais atuam os gêneros televisuais. _________________________________________________ 176 Figura 18: Imagens retiradas dos prólogos da segunda temporada de Breaking Bad (AMC, 2008-13). _________________________________________________ 181 Figura 19: Imagem da apresentação da Log Lady. ______________________________________________ 194 Figura 20: Imagens que ilustram a
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