Indústria cultural, repetição e totalização na trilogia Pânico / Culture industry, repetition and totalization in the Scream trilogy
AUTOR(ES)
Charles Albuquereque Ponte
FONTE
IBICT - Instituto Brasileiro de Informação em Ciência e Tecnologia
DATA DE PUBLICAÇÃO
27/09/2011
RESUMO
Throughout last century, the culture industry s modus operandi was responsible for a standardizing movement in cultural artifacts, constituting a tensional axis between repetition and innovation that embraces all arts, but mainly in film, having the latter a greater need for returns in its production investments. That way, regarding the American cinema as the main representative of filmic entertainment, it is natural that its homogenization is more intense, an aspect conveniently overlooked by specialized critiques, since they tend to emphasize, correctly, those films of higher complexity, ultimately deluding readers about the actual percentage of quality works. Thus, the objective of this dissertation is to observe the composition of one of these usually non critically contemplated ones, the horror trilogy Scream (1996; 1998; 2000), directed by Wes Craven, starting by the close reading of its main structural components - plot, characters, setting and point of view - and comparing it to others pertaining to the same subgenre, in order to verify the existence of a dialectic tension of approximation or distancing to the standardized diegetic forms and how these movements are related to product selling strategies. For doing so, this work makes use of a body of theories from multiple areas, from literature and film studies to the group of thinkers encapsulated under the alias Theory, but always permeated by Adorno and Horkheimer s concept of culture industry (1985), and by Adorno s further elaborations on the theme (2001). In the corpus, on the one hand the tension between formal repetition and its rearrangement occurs in all selected components, so that the trilogy remains as a member of the slasher subgenre, at least in its surface, despite containing a great amount of hybridization, notably by the structuring of its main characters, heroin and monster, as well as part of its découpage; on the other hand, there is a number of innovations attributed to the trilogy, especially the presence of a varied metafictional vein, rare in all of the horror genre, but also the lessening of violently graphic scenes. However, it can be confirmed, through the interpretation of results, that the allowed modifications never threaten the breaking of the fourth wall, or even the audience expectations for the films, in a way that practically all alterations should be considered as controlled to emulate a fallacious novelty
ASSUNTO(S)
filmes de horror craven wes. scream culture industry repetition in motion pictures horror films indústria cultural repetição no cinema
