Universidade De Sorocaba Pró-Reitoria Acadêmica Programa De Pós-Graduação Em Comunicação E Cultura Nível Mestrado

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Universidade De Sorocaba Pró-Reitoria Acadêmica Programa De Pós-Graduação Em Comunicação E Cultura Nível Mestrado UNIVERSIDADE DE SOROCABA PRÓ-REITORIA ACADÊMICA PROGRAMA DE PÓS-GRADUAÇÃO EM COMUNICAÇÃO E CULTURA NÍVEL MESTRADO Lucas Augusto Costa Pinto Giavoni A Fórmula 1 e as Teorias da Comunicação: Transformações Culturais Sorocaba/SP 2012 Lucas A. Giavoni A Fórmula 1 e as Teorias da Comunicação: Transformações Culturais Dissertação apresentada à Banca Examinadora de Qualificação do Programa de Pós-Graduação em Comunicação e Cultura da Universidade de Sorocaba, como exigência parcial para obtenção do título de Mestre em Comunicação e Cultura da Universidade de Sorocaba. Orientador: Prof. Dr. Osvando J. de Morais Sorocaba/SP 2012 1 Lucas A. Giavoni A Fórmula 1 e as Teorias da Comunicação: Transformações Culturais Dissertação aprovada pela Banca Examinadora de Defesa como requisito parcial para obtenção do grau de Mestre em Comunicação e Cultura da Universidade de Sorocaba. Defendida em: 31 / 08 / 2012 BANCA EXAMINADORA: Ass: ______________________________________ Pres.: Prof. Dr. Maurício Reinaldo Gonçalves Universidade de Sorocaba Ass: _____________________________________ 1º Exam.: Prof. Dr. Vicente Gosciola Universidade Anhembi-Morumbi Ass: ______________________________________ 2ª Exam.: Profª. Drª. Tarcyanie Cajueiro dos Santos Universidade de Sorocaba 2 Agradeço à Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) pelo fundamental e indispensável apoio a esta pesquisa, desenvolvida com bolsa da Instituição, a primeira e única concedida a um discente dos Programas de Pós-Graduação Stricto Sensu da Universidade de Sorocaba. Também faço um especial agradecimento para os jornalistas Márcio Madeira da Cunha e Guilherme Giavoni, que ajudaram na construção deste trabalho, junto ao sempre presente apoio familiar dos meus pais, Paula e Jô. Presto reverência e carinho a todos que contribuíram para que minha passagem como mestrando fosse frutífera em produção acadêmica e em amigos. 3 Este trabalho é inteiramente dedicado aos meus mentores acadêmicos, Osvando J. de Morais e Paulo B. C. Schettino. Afortunado é quem teve, como eu, a honra de tê-los como professores e incentivadores da pesquisa e da justiça. 4 Porque, afinal de contas, a Fórmula 1 e suas várias instâncias – mecânicos, pilotos, dirigentes, equipes, montadoras, TVs, patrocinadores etc. – são exatamente como do muro dos autódromos para fora. Há gente boa e menos boa, honesta e menos honesta, comprometida com algo mais do que grana ou totalmente rendida a ela. Exatamente, enfim, como na vida. A Fórmula 1 é apenas um reflexo do mundo. Foi assim no passado, é assim hoje e será assim no futuro. Eduardo Correa Jornalista automobilístico 5 Resumo Esta pesquisa tem como objetivo analisar, à luz das teorias da comunicação, as transformações culturais ocorridas na Fórmula 1, principal categoria do esporte a motor mundial, por sua associação com as indústrias da mídia, partindo do pressuposto de Thompson de que os meios de comunicação de massa não apenas financiam e difundem formas culturais, mas também os transformam. Optou-se metodologicamente por dividir o trabalho em dois estágios. Em um primeiro momento, iremos verificar a associação de uma das invenções com maior impacto social do século XX, o automóvel, com a prática esportiva, fazendo nascer assim o automobilismo, que é dotado de vários desafios, uma vez que é composto pelo atleta e seu equipamento. Deste modo, poderemos entender o significado simbólico desta modalidade, destacando diferenças e semelhanças dos dois berços de competição: Europa e Estados Unidos, por meio de análise cultural sócio-histórica, também baseada em Thompson. Em um segundo momento, analisaremos a associação do automobilismo – sobretudo a Fórmula 1 - com a mídia, no que poderemos verificar as transformações ideológicas, no sentido de aproximação com o conceito de Indústria Cultural, de Adorno/Horkheimer, e as necessidades de extensão que o automobilismo demanda, de acordo com as propostas de McLuhan. Diante de tão poucos trabalhos específicos, procura-se intensificar o esporte a motor como objeto de estudo nas pesquisas científicas aplicadas à comunicação: a Fórmula 1, considerada a mais importante categoria, envolve diversos aspectos exploráveis nas questões midiáticas, comunicacionais e culturais em suas especificidades discursivas. Palavras-chave: Fórmula 1; Automobilismo; Teorias da Comunicação; Jornalismo; Comunicação e Esporte; Internet; Cultura. 6 Sumário Introdução ................................................................................................................. 8 PRIMEIRO ESTÁGIO O automóvel associa-se ao esporte ..................................................................... 18 1.1 - Trabalhando com o conceito de cultura ........................................................... 20 1.2 - O surgimento do automóvel ............................................................................. 22 1.3 - A necessidade de competir .............................................................................. 32 1.3.1 - O desafio Máquina versus Máquina ................................................... 34 1.3.2 - O desafio Homem versus Homem ...................................................... 44 1.3.3 – O desafio Homem versus Máquina ................................................... 55 1.4 - Transformação cultural dos pilotos .................................................................. 61 1.5 - Berços do automóvel, berços de competições distintas .................................. 79 1.6 - A expansão da Europa e a clausura dos Estados Unidos ............................... 94 SEGUNDO ESTÁGIO O automobilismo associa-se à mídia ................................................................. 103 2.1 - A obrigatoriedade da extensão ...................................................................... 106 2.2 - Transformação financeira ............................................................................... 111 2.3 - Da explosão dos orçamentos à padronização ............................................... 125 2.4 - Nacionalismo conveniente ............................................................................. 139 2.5 - O que é consumido pelo público .................................................................... 152 Considerações finais ........................................................................................... 157 Referências ........................................................................................................... 160 Crédito das ilustrações ........................................................................................ 165 7 Introdução Diante de um aparelho televisor, em um domingo qualquer, estão 24 competidores em seus respectivos carros, alinhados em formato de grelha – ou grid, se preferir. Eles estão em um moderno autódromo construído em algum ponto do globo, possivelmente de arquitetura opulenta, esperando que cinco luzes vermelhas que estão à frente deles se apaguem, sinal para que a corrida comece e assim possam finalmente sair da inércia. A ordem em que estão posicionados, descrita logo no começo da transmissão do evento, havia sido definida no dia anterior, o sábado, em uma sessão de qualificação complexa, dividida em três partes, sendo que na última delas, quem fizer uma volta completa no menor tempo, terá a honra de largar em primeiro – a pole-position. E antes dessa qualificação, estes pilotos já haviam passado por três sessões de treinos, para reconhecerem a pista e acertarem seus carros da maneira mais eficiente possível junto aos seus engenheiros. Os competidores, de diversas nacionalidades, são considerados os melhores do mundo e alguns têm salários milionários. Eles pilotam carros exclusivos, muito diferentes do que vemos nas ruas. São de preço incalculável, ao mesmo tempo em que possuem estreito prazo de validade, já que serão descartados ao fim do ano a favor de um projeto novo e aprimorado. Com bicos pontudos, rodas descobertas, cheios de asas e logotipos, estes são criados para andar mais rapidamente possível durante a corrida. Podem alcançar até 345 quilômetros por hora de velocidade, quase três vezes a velocidade máxima permitida em rodovias brasileiras. Mas impressionam mesmo pela capacidade de fazer curvas, com aderência muitas vezes maior que de um carro de rua. Assim que as luzes se apagam, partem em manada. Eles farão várias voltas no circuito, em distância total pouco maior que 300 quilômetros, em um tempo de, no máximo, duas horas – período semelhante ao de um filme no cinema. Nesse meio, acontecerão paradas nos boxes para trocas de pneus, abandonos, acidentes, ultrapassagens e duelos, entre outras variáveis. O importante é que quem está na frente da televisão não perderá nenhum lance: se este não for captado ao vivo, a transmissão do evento fará questão de recuperar em replay imagens que considerar relevantes – ultrapassagens, batidas, paradas nos boxes dos carros líderes etc. 8 Para que isso aconteça, uma miríade de câmeras é espalhada em vários pontos da pista, cuidadosamente estudados. Algumas câmeras são colocadas em gruas altas e uma parte delas até se movimenta para acompanhar os carros. Há também câmeras móveis, com repórteres cinematográficos que cobrem a área dos boxes, além das populares câmeras onboard, que levam os telespectadores para dentro dos carros, às vezes com gráficos animados em tempo real que mostram velocidade, regime de trabalho do motor e marcha engatada, entre outras minúcias. Para o telespectador ficar ainda mais informado, de tempos em tempos são gerados caracteres na tela com a ordem
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