Claudio Zanini

O artigo apresenta uma analise de San Junipero , episodio da serie Black Mirror que transcorre em universo alternativo que promete diversao e alienacao eternas atraves de festas, musica dancante e jogos de fliperama. San Junipero se destaca no panteao da serie devido a seu suposto final feliz, que contrastaria com o tom sombrio dos outros episodios. Entretanto, a leitura aqui apresentada sustenta nao apenas que San Junipero mantem o tom lugubre que caracteriza a serie, mas que o faz a partir da convergencia de elementos da ficcao cientifica, do gotico e da distopia. Tal conjuncao nos leva a sugerir que apesar de seu onirismo festivo, San Junipero e um espaco de aprisionamento que congrega a morbidez dos espacos goticos e a aura tecnologica da ficcao cientifica, o que resulta na desesperanca distopica.

This dissertation aims at presenting Chuck Palahniuk‟s novel Haunted as a portrait and symptom of the behavior perceived in the postmodern Western society, whose values, according to the author himself, correspond to “the opposite of the American Dream”. The main characteristic of such society is the individuals‟ difficulty in dealing with demands and constant changes in the individual, social and psychological spheres, a fact observed in the work of this American writer through the presence of marginal characters in a more often than not apparently unconscious search of self-acceptance or social adaptation. The reading proposed is mainly based on the writings of French theoretician Jean Baudrillard, who presents the assumption that the contemporary world is in a “post-orgy” state, haunted by three phantasies he denominates cancer, transvestitism and terrorism, which symbolize contemporary social issues related to politics, sexuality, communication and human relationships, among oth...

The present article analyzes the issue of belonging and its absence in four relevant North American plays, whose common focal points are their characters, who display peculiarities and difficulties in their interaction with the world. The corpus comprises plays written between 1922 and 2001, proving that it is a pertinent issue and that it has been calling the attention of several playwrights and from the most varied perspectives. Being the social and psychological points of view the most important ones in this analysis, this article also aims at understanding up to what extent and in what ways both aspects become involved and are consequence of one another.

In spite of being focused on the tragedy, Aristotle’s Poetics brings a fundamental idea in the definition of comedy – the concept of the lower man, whose moral flaws and lack of virtue provide the audience with comic moments. The comedy of manners, strongly based on that premise, is marked by the use of types, which represent such flaws and immorality. A representative of Victorian literature, Oscar Wilde (1854 – 1900) criticizes the society of his time through the use of types in his plays. The present article aims at observing how this idea is put into practice in two comedies of manners by Wilde, namely, The Importance of Being Earnest and An Ideal Husband. Such observation will take place through the analysis of excerpts of the referred works to corroborate the Aristotelian theory regarding the creation of comic moments, the use of types and social criticism.

his article discusses the 1984 slasher ilm A Nightmare on Elm Street
and its 2010 remake emphasizing the presence of recurrent tropes both
in Gothic iction and slasher ilm such as transgression, excess, disrupted
family structures, the monster, the haunting return of the past, and the terrible place. A literature review for slasher ilm theory precedes a detailed analysis of the symbolic and thematic connections between the
opening and closing sequences in each ilm. he conclusion highlights the
remake’s resigniication of the original movie’s Gothic legacy by updating
its supernatural monster into an earthly threat and by endowing its heroine with the strength and proactivity necessary for the inal confrontation with the monster.

The article proposes a reading of Bram Stoker’s Dracula analyzing the imagery in the novel in accordance with the Diurnal Order of the Image (DURAND, 1999), a perspective that encompasses images within three antithetical dichotomies: the theriomorphic and diæretic images (respectively related to an animal archetypology and to the devices and weapons of the hero), the nyctomorphic and spectacular images (related to darkness and light) and catamorphic and ascensional images, which are connected to falling and rising. The conclusion highlights the universality in the imagery Stoker employs in his work, which explains Dracula’s timelessness and power.

Capítulo integrante do volume David Lynch, multiartista.

O livro digital "David Lynch, multiartista", organizado por Daniel Serravalle de Sá e Marcio Markendorf, é produto de colaboração entre pesquisadores de diferentes universidades nacionais.
O volume aborda o trabalho do cineasta e artista David Lynch em suas diversas facetas, agregando discussões sobre seus longas-metragens, seu projeto musical, seus projetos em vídeo, seus curtas-metragens, seu trabalho na televisão e suas ideias sobre meditação e criatividade.
A proposta do livro foi reunir textos de escrita mais reflexiva, de voz e linguagem pessoal, sem a preocupação de fechar as pontas, tal como é de praxe nos formatos discursivos da academia.
O volume foi pensado com foco em um público amplo de interessados em David Lynch – cinéfilos, cineclubistas, estudantes, fãs – mas temos certeza que scholars também encontrarão conteúdos significativos e um conjunto de informações relevantes.

RESUMO: O final dos anos 70 e a década de 80 brindaram espectadores com incontáveis litros de sangue derramado. Freddy, Jason e Michael Myers fizeram inúmeras vítimas em suas franquias de filmes, embora poucas delas sejam memoráveis. Uma das franquias de maior sucesso no horror do novo milênio, Jogos Mortais (2004-2010) apresenta novos paradigmas dentro do cinema de horror, especialmente no que tange às formas de submissão, tortura e morte das vítimas. O objetivo desta proposta é identificar tais mudanças e verificar de que formas a série de filmes se afilia ao gótico através da desumanização e consequente monstrificação do ser humano. Parte-se da hipótese que a vítima deixa de ser apenas mais um corpo que será devidamente localizado ao final da narrativa, para ser um indivíduo mais facilmente percebido como ser humano por parte do espectador. O objetivo é justamente estabelecer tal característica para que ela seja revertida depois, uma vez que as torturas físicas e psicológicas a que os jogadores são submetidos são calcadas em princípios da doutrina sádica e de desumanização. PALAVRAS-CHAVE: Gótico. Sadismo. Desumanização. Jogos Mortais.

This article analyzes how the textual design of found footage films subvert factual discourse in order to increase the intended horror on screen. Movies such as Cannibal Holocaust (1980), The Blair Witch Project (1999), Paranormal Activity (2007) and The Gallows (2015) capitalize on the blur between reality and fiction, interfering with the way part of the audience responds to the movies. The article also contends that found footage films are natural by-products of postmodern times, which is especially characterized by 'convergence culture' (JENKINS, 2008) and 'the disappearance of something real', as two prime features of this genre.

The article investigates the context in which found footage established itself within contemporary horror cinema. The main concepts for such are participatory culture (Henry Jenkins, 2009) and the claims to truthfulness in documentary (Patricia Aufdenheide, 2007). The analysis of found footage points out that its consolidation took place based on the mixture between formal and stylistic elements inherited from classic horror and participatory culture, whose members are both content producers and content receivers.

This article discusses the representation of transgenders in Japan through an analysis of Shimura Takako's manga Wandering Son (2002 – 2013), which depicts two middle-school teenagers: a boy who wants to be a girl and a girl who wants to be a boy, who are analyzed in their family, school and work contexts. The analysis draws on Butler and Louro for gender issues, and on Braga Jr. for comics theory. Resumo: Este artigo discute a representação das pessoas transgêneras no Japão através de uma análise do mangá Wandering Son (2002 – 2013), de Shimura Takako, que apresenta dois estudantes do ensino fundamental: um garoto que quer ser uma garota e uma garota que quer ser um garoto, os quais são analisados nos contextos familiar, escolar e de trabalho. A análise baseia-se em Butler e Louro para questões de gênero, e em Braga Jr. para teoria de quadrinhos. Palavras-chave: Transgênero. Identidade de Gênero. Mangá. Wandering Son.

This article analyzes how the textual design of found footage films subvert factual discourse in order to increase the intended horror on screen. Movies such as Cannibal Holocaust (1980), The Blair Witch Project (1999), Paranormal Activity (2007) and The Gallows (2015) capitalize on the blur between reality and fiction, interfering with the way part of the audience responds to the movies. The article also contends that found footage films are natural by-products of postmodern times, which is especially characterized by 'convergence culture' (JENKINS, 2008) and 'the disappearance of something real', as two prime features of this genre.

The book identifies the predominant archetypes and images in Dracula, showing to what extent they represent relevant issues to Victorian society and the audiences the novel has had since then. The work is published in a crucial historical moment, during which the British traditional rural values are replaced by modern and urban ones. A major consequence of such a transition is a drastic change in the British behavioral code. Several elements in such a transformation can be identified in Stoker’s novel, and the eagerness with which the work was accepted by Victorian audiences is a symptom of the needs that resulted from the excessive repression from that period. The analysis of the archetype of the vampire and the archetypal images presented in Dracula unfolds predominantly through the examination of the psychological and anthropological implications connected to blood imagery. The main theoretical tools come from the studies of Carl Gustav Jung and Gilbert Durand and their ideas on the collective unsconscious and the two orders of  the image, respectively.

This book presents Chuck Palahniuk's 2005 novel Haunted as a portrait of the behavior perceived in significant part of the postmodern Western society, whose values, according to the author himself, correspond to “the opposite of the American Dream”. The main characteristic of such society is the individuals' difficulty while dealing with demands and constant changes in the individual, social and psychological spheres, a recurrent aspect in Palahniuk's work, which is pervaded by marginal characters in a more often than not apparently unconscious search of self-acceptance or social adaptation. The reading proposed is mainly based on the writings of French theoretician Jean Baudrillard, who presents the assumption that the contemporary world is in a “post-orgy” state, haunted by three phantasies he denominates cancer, transvestitism and terrorism, which symbolize contemporary social issues related to politics, sexuality, communication and human relationships, among other aspects. The concepts by Baudrillard that underlie the analysis are: the "post-orgy state‟, "hyperreality‟, "simulation‟, "virulence‟, "seduction‟ and "phantasies‟. The work also presents the features of the literature produced by Chuck Palahniuk and its newly-started critical fortune, highlighting the main aspects of postmodern society present in his works, culminating with an approximation of Haunted to the postmodern variation of Gothic literature, besides a comparison between the dynamics established among the characters in the novel to the one perceived in reality shows and mock-documentaries. The conclusion strengthens aspects in the structure, imaginary and content of the novel that enable the definition of Haunted as portrait and symptom of a new social organization, resulting from the inevitable changes the world goes through.

The end of the 1990s marks the consolidation of a subgenre within horror cinema known as found footage, whose representatives range from cult predecessors Cannibal Holocaust (1980) and C’est arrive près de chez vous (1992) to blockbusters such as The Blair Witch Project (1999) and Paranormal Activity (2007). Some of the features in these movies include typical elements from the documentary format, such as the real-time unfolding of events, the filming character who works as a sort of first-person narrator, the “claims to truthfulness” (Aufdenheide, 2007) and the presence of evil deeds, characters and entities. More often than not, found footage movies document acts which are too violent, vicious, wicked or supernatural to be believed. Thus, this proposal seeks to analyze representations of evil in found footage movies over the past three decades, given that evil is a core element in the narrative dynamic in these movies. The analysis proposed here is based on a threefold theoretical structure: studies on documentary and false documentary (Roscoe e Hight, 2001; Nichols, 2010; Aufdenheide, 2007); concepts pertaining to the postmodern relationship between people and communication such as the society of spectacle (Debord, 1997) and the convergence culture (Jenkins, 2009); finally, pertinent views on evil such as the ones found in writings by Jean Baudrillard’s The Transparency of Evil (2002) and Terry Eagleton’s On Evil (2010). The conclusion points out that evil is multifaceted in found footage movies, ranging from acts of vandalism, destruction of communities, murder of all kinds to supernatural events involving zombies, aliens, witches, spirits and demons, among others. It also highlights the blur between reality and fiction inherent to the genre, fostered by movie makers and studios, as an important factor so as to bring evil closer to the audience and strengthen its effects.

A ficção de zumbis está consolidada como uma das vertentes mais expressivas da produção cultural contemporânea, seja pela curiosidade sobre o que acontece conosco após a morte, ou pelos cenários distópicos apresentados. Um dos nomes de referência dentro do gênero é o do cineasta estadunidense George A. Romero, que produziu e dirigiu seu primeiro filme de zumbis, A Noite dos Mortos-Vivos, em 1968. Mais de quatro décadas depois, os mortos-vivos no panteão de Romero acompanharam as mudanças no mundo dos meramente vivos. Assim, esta comunicação pretende observar como lutas de classe social, o feminismo, o capitalismo, o declínio do império dos EUA e outros fenômenos históricos, sociais e culturais servem como acessórios importantes na forma de Romero contar suas histórias. Para isso, será observada a maneira como as identidades são construídas nessas narrativas, vendo de que modo a percepção das personagens não-zumbi (e dos espectadores) se altera à medida que as contaminações ocorrem, mostrando que, apesar de putrefatos e comedores de carne humana, os retornados não estão tão distantes dos meramente vivos. Afinal, eles são nós, e nós somos eles.