Tecnologia e cultura nos quadrinhos independentes brasileiros
This study seeks to reflect on the meanings, senses, tensions and contradictions related to the term “independent” and its counterpart, the term “mainstream”, connected to the process of development of comics as a cultural formation. These reflections are guided by Raymond William’s set of ideas, es...
| Autor principal: | Paz, Liber Eugenio |
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| Formato: | Tese |
| Idioma: | Português |
| Publicado em: |
Universidade Tecnológica Federal do Paraná
2018
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| Assuntos: | |
| Acesso em linha: |
http://repositorio.utfpr.edu.br/jspui/handle/1/2946 |
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| Resumo: |
This study seeks to reflect on the meanings, senses, tensions and contradictions related to the term “independent” and its counterpart, the term “mainstream”, connected to the process of development of comics as a cultural formation. These reflections are guided by Raymond William’s set of ideas, especially the concepts of technology, hegemony and alternative, oppositional, residual, and emerging cultures. We structured the work in five moments. First, we approach comics as a cultural form and observe the relations between culture and technology in its process of formation. Next, we observe particularities of this process within the Brazilian context. In a third moment, we present Williams’ concepts on alternative cultures and anticipate the part devoted to the intense cultural manifestations of the 1960s and their unfolding. Finally, we attempt to give an overview of the scenario of changes that develops from the 1980s, emphasizing the comics published in Brazil. From the observation of the emergence and consolidation of events such as the HQ Mix Trophy and the comics fairs and biennials related to new publication and distribution processes, we sought to analyze the works and profiles of four contemporary comic authors and to better understand the meanings of terms such as "independent", "authorial", "commercial", "mainstream", "alternative" and others, commonly used in various comic book practices. Among the results obtained, we noticed that: many contemporary "independent" productions present thematic, stylistic and material characteristics practically indistinguishable from "mainstream" productions; some "mainstream" productions incorporate themes and proposals of cultures that are alternatives to hegemony; the use of the term “independent” often covers the unfavorable conditions of production and livelihood of several professionals; rigorously considering the opposing cultures as a set of actions of a revolutionary dimension, it is difficult to find works that effectively meet this condition. |
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