Representação do trabalho e trabalho de representação em narrativas seriadas televisivas norte-americanas
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Data
2018-09-03
Autores
Carvalho, André Ferreira Gomes de
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Universidade Estadual Paulista (Unesp)
Resumo
Nesta tese, examino a relação entre as transformações que ocorreram no mundo do trabalho a partir de meados da década de 1970 e as novas formas de narrativa seriada televisiva que se tornaram predominantes nos Estados Unidos. Argumento que o impacto das crises econômicas no imaginário dos profissionais norte-americanos e as políticas neoliberais do governo subsequente de Reagan contribuíram com a formação da nova ficção do horário nobre, e que a reorganização do trabalho desde então continua a determinar os modos dramáticos das séries contemporâneas. Detenho-me particularmente na transição do modelo fordista-taylorista de organização produtiva para o modelo toyotista e, de acordo com teóricos do trabalho, comento os impactos psicológicos do aumento da concorrência entre os trabalhadores devido à flexibilização de contratos, à terceirização e à crescente desigualdade social. De início, analiso traços gerais de obras celebradas das décadas de 1980 e 1990, como Hill Street Blues (1981–1987) e ER (1994–2009), e determino os principais elementos do drama televisivo, além de mudanças na forma de financiamento, distribuição e consumo de programas de televisão. Em seguida, tratando de séries que fizeram sucesso nos anos 2000, como 24 (2001–2010) e The Sopranos (1999–2007), examino como a nova ficção articula posições de classe e situa os sujeitos do neoliberalismo em relação a suas narrativas pessoais. Por fim, concentro-me nas criações de David Simon, escritor/produtor de séries da HBO como The Wire (2002–2008) e Treme (2010–2013); analiso a primeira temporada de The Deuce (2017–) para discutir como a narrativa articula questões de trabalho e representação com um segmento específico: o trabalho sexual e a pornografia.
In this dissertation, I examine the relationship between the labor transformations that have taken place since the mid-1970s and the new forms of television serial narrative which become predominant in the United States. I argue that the impact of crises on the imaginary of American professionals during that decade and the neoliberal policies of Reagan's subsequent rule contributed to the formation of the new primetime fiction, and that the reorganization of work since then continues to determine the dramatic modes of the contemporary series. I examine closely the transition from the Fordist-Taylorist model of productive organization to the Toyotist model, and, following the work of labor theorists, I comment on the psychological impacts of increased competition among workers due to flexibilization of contracts, outsourcing and increased social inequality. At first, I analyze general features of celebrated works from the 1980s and 1990s, such as Hill Street Blues (1981–1987) and ER (1994–2009), and determine the main elements of television drama, as well as changes in the forms of financing, distribution and consumption of television. Then, addressing series that were successful in the 2000s, such as 24 (2001–2010) and The Sopranos (1999–2007), I examine how the new fiction articulates class positions and places the neoliberal subjects in relation to their personal narratives. Finally, I focus on the creations of David Simon, writer/producer of HBO series such as The Wire (2002–2008) and Treme (2010–2013); I analyze the first season of The Deuce (2017–) to explore how its narrative articulates matters of work and representation with a specific industry, that of sex work and pornography.
In this dissertation, I examine the relationship between the labor transformations that have taken place since the mid-1970s and the new forms of television serial narrative which become predominant in the United States. I argue that the impact of crises on the imaginary of American professionals during that decade and the neoliberal policies of Reagan's subsequent rule contributed to the formation of the new primetime fiction, and that the reorganization of work since then continues to determine the dramatic modes of the contemporary series. I examine closely the transition from the Fordist-Taylorist model of productive organization to the Toyotist model, and, following the work of labor theorists, I comment on the psychological impacts of increased competition among workers due to flexibilization of contracts, outsourcing and increased social inequality. At first, I analyze general features of celebrated works from the 1980s and 1990s, such as Hill Street Blues (1981–1987) and ER (1994–2009), and determine the main elements of television drama, as well as changes in the forms of financing, distribution and consumption of television. Then, addressing series that were successful in the 2000s, such as 24 (2001–2010) and The Sopranos (1999–2007), I examine how the new fiction articulates class positions and places the neoliberal subjects in relation to their personal narratives. Finally, I focus on the creations of David Simon, writer/producer of HBO series such as The Wire (2002–2008) and Treme (2010–2013); I analyze the first season of The Deuce (2017–) to explore how its narrative articulates matters of work and representation with a specific industry, that of sex work and pornography.
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Televisão, Trabalho, Estudos culturais, Neoliberalismo, Estados Unidos, Television, Work, Cultural studies, Neoliberalism, United States