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Distopia em comparação : dois cenários pós-apocalípticos em Nausicaä do Vale do Vento (1984) de Hayao Miyazaki e Akira (1988) de Katsuhiro Otomo
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Resumo(s)
Redescobrir um termo já tão abordado no mundo das artes, como é o caso da distopia, num fenómeno cultural como o anime evidencia que as matérias nunca se esgotam, multiplicando-se, em vez disso, das mais variadas formas. O conceito de distopia teve origem no ocidente, mas floresce no Japão na atração pelas temáticas apocalípticas, na experiência da bomba atómica e no fascínio pelo fim do mundo. A presente dissertação analisa a relação entre os filmes de animação Nausicaä do Vale do Vento (1984) de Hayao Miyazaki e Akira (1988) de Katsuhiro Otomo em torno do conceito de distopia, que ambos ilustram, o primeiro enquanto distopia crítica e o segundo como distopia clássica. Abordam-se as principais características destes objetos fílmicos – de que são exemplo a tecnologia, os cenários e as cores – como se fossem representantes das diferentes fases de vida pelas quais uma distopia passa, nomeadamente o nascimento, a maturação, a reprodução e a morte. Pensar a distopia como um ser vivo permite que se interpretem nuances pertinentes ao longo de ambas as obras, gerando um ciclo que acolhe perfeitamente os conceitos de distopia crítica e distopia clássica.
Rediscovering a term that has been so widely discussed in the world of art, as is the case with dystopia, in a cultural phenomenon such as the anime shows that subjects are never exhausted, but instead are multiplied in the most varied ways. The concept of dystopia originated in the West, but flourished in Japan in the attraction to apocalyptic themes, the experience of the atomic bomb and the fascination with the end of the world. This dissertation analyzes the relationship between the animated films Nausicaä of the valley of the wind (1984) by Hayao Miyazaki and Akira (1988) by Katsuhiro Otomo through the lens of dystopia. Some of these filmic objects’ characteristics are adressed – such as the settings and colors – as representatives of the different life stages that a dystopia goes through, namely birth, maturation, reproduction and death. Thinking of dystopia as a living being allows the interpretation of pertinent nuances throughout both works, generating a cycle that perfectly accommodates the concepts of critical dystopia and classical dystopia.
Rediscovering a term that has been so widely discussed in the world of art, as is the case with dystopia, in a cultural phenomenon such as the anime shows that subjects are never exhausted, but instead are multiplied in the most varied ways. The concept of dystopia originated in the West, but flourished in Japan in the attraction to apocalyptic themes, the experience of the atomic bomb and the fascination with the end of the world. This dissertation analyzes the relationship between the animated films Nausicaä of the valley of the wind (1984) by Hayao Miyazaki and Akira (1988) by Katsuhiro Otomo through the lens of dystopia. Some of these filmic objects’ characteristics are adressed – such as the settings and colors – as representatives of the different life stages that a dystopia goes through, namely birth, maturation, reproduction and death. Thinking of dystopia as a living being allows the interpretation of pertinent nuances throughout both works, generating a cycle that perfectly accommodates the concepts of critical dystopia and classical dystopia.
Descrição
Mestrado em Estudos Comparatistas