Os trapalhões e a comunicação midiática: a concepção de uma narrativa transmídia Made in Brazil

Abstract

This thesis is focused to study the narratives of the famous quartet, formed by Didi, Dedé, Mussum and Zacarias, known as Os Trapalhões. The justification to the study is to enable the understanding of one of the most successful Brazilian audiovisual phenomenon of the past, that had been originated from television and that used to present narratives on different platforms, such as film and comics. The situation was configured as a transmedia storytelling experience, especially between 1980 and 1990 decades. The central question of this thesis is: how is possible to propose that Os Trapalhões created a transmedia narrative made in Brazil in the past of national communication? The term "made in Brazil" is an allusion to the fact that the narratives produced by them, almost always, were linked to the logic of major film franchises, coming from abroad. The research problem relates to the textual dialogs between group platforms, which appropriated, very often, of foreign culture alluding to an anthropophagic situation, as the only way to produce a national media narrative, which used television as its relation. It presents the hypothesis as the consideration of a possible establishment of narrative connection from characters who are from television and that, associated with the external references presented in the movies and comics, used to promote a production of meanings in an integrated manner, independent of the media. Within this context, this thesis has as main objective, to raise the concept of trapalhônica transmedia narrative. The corpus selected for the study is media products (television, movies and comics) that unite the elements of Os Trapalhões franchise, produced between 1987 and 1994. The specific choice of the period used as a principle to the understanding that, in all the productions, from 1987, the group began to develop a branding strategy, aiming to unify its brand. Thus, it is analyzed under the transtextual aspects, the television material with the theoretical Gérard Genette contributions. Also, the cinema and the comics are studied from the characteristics of transmedia intertextuality, using the theory proposed by Marsha Kinder. These products also passed by an analytical treatment from the perspective of transmedia narrative concepts, proposed by Henry Jenkins and Carlos Scolari. With the results, it was found that Os Trapalhões developed a Brazilian transmedia narrative model that was constructed by a connection with the origin media and in hypertext aspects, from transformation of foreign products of success, mainly from the United States of America. The situation was not only a dialog (inter)textual, but a form of collaboration with external narratives to the group. From Os Trapalhões products were not only made an extended narrative of north american movies, but also artists of the Brazilian media.