Detalhes bibliográficos
| Ano de defesa: |
2019 |
| Autor(a) principal: |
Siqueira Filho, Luiz Carlos
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| Orientador(a): |
Santos, Goiamérico Felício Carneiro dos
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| Banca de defesa: |
Santos, Goiamérico Felício Carneiro dos,
Ribeiro, Renata Rocha,
Satler, Lara Lima,
Santos, Alexandre Tadeu dos |
| Tipo de documento: |
Dissertação
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| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Universidade Federal de Goiás
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| Programa de Pós-Graduação: |
Programa de Pós-graduação em Comunicação (FIC)
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| Departamento: |
Faculdade de Informação e Comunicação - FIC (RG)
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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: |
http://repositorio.bc.ufg.br/tede/handle/tede/9419
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Resumo: |
The present study aims to understant how the television serial narrative structures dialogues with the complexity concept of Mittell (2015) in the most basic level, that is, the interlacing of stories ending by the end of the episode in which they were presented with stories that continue in posterior episodes, by analyzing the TV series “Grimm” and “Six feet under”. Thereby, it was sought in the research articulate differents conceptions of complexity, by having in mind that this was an important concept to its development, but doing it more to a construction of a discourse’s notion around it, that cross different áreas and between which can influentiate each other, than to an establishment of a historical route. Under the complexity’s designation, studies such as Johnson (2012) and Mittell (2015) has been attributed to the television products a confluence of factors that results in its structure. Narratively, studies that analyze the complexity seems to be constructed around a common search: highlight the narrative marks inherent to the contemporaneity. In this way, appealing to Todorov (1992), Williams (2010) and Szondi (2011) to a comprehension of the general features of the serial narratives taken by object of study, through Barthes’s theoreticalmethodological approach to narrative structural analysis, it was sought to describe the TV series into narrative units, recognizing in these the narrative functions played in the TV series in analysis. It was verified that the “monster-of-the-week” character and its variants, highlighted by Mittell (2015) as parameter of an episodic narrative, it is remarkable in “Grimm” as well as in “Six feet under”, but in this one without presenting the characteristic beginning, middle and end of the “monster of the week” format, as it occurs “Grimm” in the “wesen-of-the-week” that demonstrate such characteristics, returning to a narrative equilibrium state after the solution of an given investigation. Such return to an equilibrium state doesn’t happens in “Six feet under”, because it would mean that the caracteres returns to be who they were before some event, so the function that the “death-of-the-week” plays into the narrative is to reveal them in psychological depth. In conclusion, “Six feet under”, because it doesn’t contain the episodic narrative parameter, doesn’t feature the interlacing of stories proper of the narrative complexity described by Mittell (2015). This conception of the author is perceived, with reasonable approach, in the narrative structure of “Grimm”. In this way, the Mittell’s narrative complexity is doubtful as a concept to think about the contemporary narratives because it corresponds to the middle of an interval that has two infinite in its extremities: a simple narrative, of zero complexity’s level and the most complex narratives, of maximum level. A direction into the solution of such questioning may follow through the televisions’s subgenders, since in the present research, it was noticed that the Mittell’s theory describes in a approximate way the narrative structure of the fantasy TV series “Grimm” but not the dramatic TV series “Six Feet under”. Thereby, it’s not about invalidate Mittell’s theory, but to discuss limits of application, like it is proper to the theories. |
