Hibridismo imagético: características composicionais e produção de sentido do encontro entre fotografia e desenho na história em quadrinhos O Fotógrafo
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Data
2017-10-31
Autores
Nascimento, Monique dos Santos
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Universidade Estadual Paulista (Unesp)
Resumo
Tendo em vista a série de três volumes O Fotógrafo: uma História no Afeganistão, de Didier Lefèvre, Emmanuel Guibert e Fredéric Lemercier, este trabalho visa identificar efeitos de sentido resultantes da intersecção da fotografia e do desenho na obra por meio de estratégias de composição imagética. A pesquisa justifica-se pela manifestação de hibridismo imagético presente, no que se refere ao uso da linguagem dos quadrinhos e da fotografia, duas modalidades de imagem intercaladas no âmbito da constituição da narrativa. Para tanto, são nossos objetivos observar como o relacionamento entre desenho e fotografia se dá no ambiente imagético da linguagem dos quadrinhos e como ele se desenvolve e se concretiza na obra, buscando identificar em que momentos o quadrinho ou a fotografia assumem a frente, de que forma a utilização da linguagem é feita ao longo da narrativa e como as características intrínsecas de cada uma dessas linguagens influencia na obra como um todo. Para isso, realizamos uma pesquisa quantitativa-qualitativa, de modo a detalhar e pormenorizar as características dos fenômenos presentes e pertinentes à obra, utilizando as variáveis quantificadas, obtidas a partir da observação detalhada da obra, para proceder à análise do conteúdo. Esta, por sua vez, utiliza elementos da composição imagética para formação de suas categorias. A partir disso, é possível observar que as relações articuladas entre fotografia e desenho possuem grande complexidade e apresentam uma gama de nuances e variáveis de interação que engendram uma gama de significados sobrepostos em camadas inter-relacionadas. Fotografia e desenho se intercalam no seio da estrutura sequencial dos quadrinhos e o resultado dessa relação torna possível concluir que, juntas, estas estruturas propiciam novas leituras e efeitos de sentido que as respectivas linguagens, separadamente, não alcançariam.
In view of the book The Photographer, by Lefèvre, Guibert and Lemercier, this dissertation aims to analyze and establish the discursive strategies in the intersection of photography and drawing in this graphic novel. The research is relevant to the extent that this work offers certain innovations both in the use of the language of comics, and of photography itself within the framework of the constitution of narrative and discourse. To do so, we have as main objectives to understand how the relationship between the language of comics and photography develops and is concretized in the work, in which moments the comic or photography assume the primacy, how the use of language is made throughout of the narrative and how the intrinsic characteristics of each of these languages influence the work as a whole. For this, there has been performed a quantitative-qualitative research, in order to detail and detail the characteristics of the phenomena present and pertinent to the work, using the quantified variables, obtained from the detailed observation of the work, to proceed to content analysis and analysis of the composition. From this, it might be observed that the articulated relations between photography and drawing have great complexity and present a range of nuances and interaction variables that engender a range of hierarchically superimposed meanings in interrelated layers. In some moments, it is the photography that overlaps, in others, the drawings, but all these relations make it possible to conclude that, together, these structures provide new readings and meanings that the respective languages, separately, would not do.
In view of the book The Photographer, by Lefèvre, Guibert and Lemercier, this dissertation aims to analyze and establish the discursive strategies in the intersection of photography and drawing in this graphic novel. The research is relevant to the extent that this work offers certain innovations both in the use of the language of comics, and of photography itself within the framework of the constitution of narrative and discourse. To do so, we have as main objectives to understand how the relationship between the language of comics and photography develops and is concretized in the work, in which moments the comic or photography assume the primacy, how the use of language is made throughout of the narrative and how the intrinsic characteristics of each of these languages influence the work as a whole. For this, there has been performed a quantitative-qualitative research, in order to detail and detail the characteristics of the phenomena present and pertinent to the work, using the quantified variables, obtained from the detailed observation of the work, to proceed to content analysis and analysis of the composition. From this, it might be observed that the articulated relations between photography and drawing have great complexity and present a range of nuances and interaction variables that engender a range of hierarchically superimposed meanings in interrelated layers. In some moments, it is the photography that overlaps, in others, the drawings, but all these relations make it possible to conclude that, together, these structures provide new readings and meanings that the respective languages, separately, would not do.
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Palavras-chave
História em quadrinhos, Fotografia, Imagem, Hibridismo, Composição imagética, Comics, Photography, Image, Hybridism, Imaging composition