Detalhes bibliográficos
| Ano de defesa: |
2024 |
| Autor(a) principal: |
Barros, Taís de
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| Orientador(a): |
Tietzmann, Roberto
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| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Dissertação
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| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica do Rio Grande do Sul
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| Programa de Pós-Graduação: |
Programa de Pós-Graduação em Comunicação Social
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| Departamento: |
Escola de Comunicação, Arte e Design
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| País: |
Brasil
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| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
https://tede2.pucrs.br/tede2/handle/tede/11166
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Resumo: |
This dissertation aims to deepen the understanding of the Brazilian animation production scenario for adult audiences. The study adopts an exploratory methodological approach, which includes bibliographical review, documentary analysis, study of national animation filmography and investigation of related areas, such as the national media rating law. The specific objectives include identifying developments in formats and languages of Brazilian animations for adults, and investigating new trends in serialized animated narratives nationally. Through data collection and analysis, interdisciplinary connections were made based on the literary concept of Double Coding outlined by Umberto Eco (2017). The analysis focuses on the series “Irmão do Jorel” (2014) due to its dialogue with Brazilian culture, which transcends children and also reaches adult audiences. To develop the analysis, the concepts of Jullier and Marie (2009), present in the book “Reading the Images of Cinema”, were applied to the Ecoian double coding approach. Many of the works from the beginning of national animated cinema are for adult audiences due to a lack of marketing guidance that would introduce a demand for animations for a specific audience. The national scenario begins to change when foreign television channels come to Brazil and, through the Pay TV Law, need to broadcast national content. This law causes a transformation throughout the national audiovisual chain, but in particular, as far as this research is concerned, it creates a logic for producing cartoons for pay television channels. This promotes the national animation market and enables the development of specific works for a specific audience. As research results, it is noted that despite the requirement for animated content aimed at children by several television channels after the implementation of this law, many of these productions preserve the authorial identity of their creators, thus establishing a dialogue with the public adult too |
