Batman, o cavaleiro das trevas - a HQ, o desenho animado e o filme: transfiguração

• Ano de defesa: 2016
• Autor(a) principal: Elias, Ricardo Ribeiro
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Palavras-chave em Português: Batman, O Cavaleiro das Trevas; Transfiguração Discursiva; Condições de Produção
• Link de acesso: https://repositorio.animaeducacao.com.br/handle/ANIMA/3209

The research undertakes an analysis of the discursive transfiguration¿s process on the Comic Book, Animated Cartoon, and Movie of the work Batman, The Dark Knight Returns, originally created by Frank Miller. The referred analysis objectified to observe how the work¿s conditions of production ¿ respectively, comic book and its reinterpretations ¿ determined the identity constitution in the Batman and the Joker. In broad terms, the research conciliated a relation between the Discourse Analysis and the Literature. So, intending to reach the objectives, theories about translation and adaptation were mobilized, basing the discussions involving the materialities; theories whose relation applies to the discursive transfiguration, this notion which substantiated the analysis device. In this work, the discourse¿s conditions of production allowed to expatiate upon the creation, and the identities, of the analyzed characters, as well as the mobilization of questions with relation to discursive and cultural identities. We utilized the discursive macrostructure to analyze the materialities, as a form of bringing them forward. In addition, the analysis focused in comprehending the identities through an analytical reading of the image in itself, bringing this referred focus to the non-verbal¿s inherent aspects ¿ the text-image. We understood that identities, both in Batman and Joker, experience changes. Observing the characters¿ behavior thoroughly, considering the verbal and non-verbal excerpts, we found out discursive marks that indicate particularities of postmodern identities. We also understood that the characters experience changes, in their transfigurations, from the reinterpretation of directors and scriptwriters situated into new conditions of production. Other perceptible substantiation is the unsettled issue of the authorship related to the characters, primarily concerning the Batman.