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Advisor(s)
Abstract(s)
Um bom genérico desempenha um papel de leitmotif de uma série, transmite aos potenciais espectadores o que tal série representa, entusiasma os fãs para que estes assistam ao episódio e, subconscientemente cria uma imagem mental acerca da série, procurando atender a tais espectativas.
O genérico é considerado como sendo uma forma cativante de apresentar os nomes das pessoas envolvidas na criação daquela série ao mesmo tempo que deixa os espectadores entusiasmados por ver o episódio graças a uma música muitas vezes alegre e mexida, pouco ou nada interferindo ou afetando a série em si.
Na minha experiência como leitor, espectador e, neste momento, como investigador, neste tipo de entretenimento e em todos os aspetos que são tomados em conta quando uma série é produzida, apercebi-me que o genérico pode de facto afetar de forma positiva ou negativa aquilo que irá ser assistido.
De facto, a existência do genérico e até mesmo dos créditos ao final de cada episódio é a de dar a reconhecer o respetivo valor aos membros da equipa responsável pela criação da série, mas a criação de um genérico, em anime, pelo menos, não é feita sem qualquer tipo de cuidado ou plano original. O genérico é trabalhado após a reunião, compilação e adaptação dos ingredientes-chave da narrativa ou de fontes diretamente retiradas do mundo real, o que irá proporcionar a distinção ente um genérico focado na intramedialidade, na intermedialidade ou na mistura dos dois casos.
Um genérico deve procurar apoderar-se das vantagens e do cruzamento de forças de expressão proporcionadas pela transmedialidade e pela metanarrativa, como a banda sonora, interpretação vocal, animação ou cinematografia.
A mestria na narratologia do genérico não está na organização e compilação dos detalhes, mas sim na procura de uma forma orgânica e natural de transmiti-los ao espectador, sem quebrar a integridade da história narrada ou do mundo em algum ponto do processo.
A good opening plays as a leitmotif of a show, conveys to a potential viewer what such a show represents, excites the fans to watch the episode, and subconsciously creates a mental image about the show, seeking to meet such expectations. The opening is considered to be a captivating way of presenting the names of the people involved in creating that show, while at the same time leaving the spectators enthusiastic to watch the episode thanks to a soundtrack often cheerful, exciting, having little to none interference or affecting the show in itself. Due to my experience as a reader, spectator and now as a researcher, in this type of entertainment and in all of the aspects that are taken into account when a show is produced, I realized that the opening can in fact affect positively or negatively what is about to be watched. In fact, the existence of the opening and even the credits at the end of each episode is to acknowledge the value of the team members responsible for creating the show, but the creation of an opening, in anime, is, at least, not done without any kind of care or original plan. The opening is constructed after the gathering, compilation and adaptation of the key ingredients of the narrative or sources directly withdrawn from the real world, which will provide the distinction between an opening focused on intramediality, intermediality or a mixture of both examples. The opening should seek to exploit the advantages and the crossing of different types of expression provided by transmediality and metanarrative, such as soundtrack, vocal interpretation, animation or cinematography. The mastery of the narratology present in the opening is not in the organization and compilation of details, but in the search for an organic and natural way of transmitting them to the viewer without breaking the integrity of the narrated story or the world at some point in the process.
A good opening plays as a leitmotif of a show, conveys to a potential viewer what such a show represents, excites the fans to watch the episode, and subconsciously creates a mental image about the show, seeking to meet such expectations. The opening is considered to be a captivating way of presenting the names of the people involved in creating that show, while at the same time leaving the spectators enthusiastic to watch the episode thanks to a soundtrack often cheerful, exciting, having little to none interference or affecting the show in itself. Due to my experience as a reader, spectator and now as a researcher, in this type of entertainment and in all of the aspects that are taken into account when a show is produced, I realized that the opening can in fact affect positively or negatively what is about to be watched. In fact, the existence of the opening and even the credits at the end of each episode is to acknowledge the value of the team members responsible for creating the show, but the creation of an opening, in anime, is, at least, not done without any kind of care or original plan. The opening is constructed after the gathering, compilation and adaptation of the key ingredients of the narrative or sources directly withdrawn from the real world, which will provide the distinction between an opening focused on intramediality, intermediality or a mixture of both examples. The opening should seek to exploit the advantages and the crossing of different types of expression provided by transmediality and metanarrative, such as soundtrack, vocal interpretation, animation or cinematography. The mastery of the narratology present in the opening is not in the organization and compilation of details, but in the search for an organic and natural way of transmitting them to the viewer without breaking the integrity of the narrated story or the world at some point in the process.
Description
Versão Final - Contém as críticas e sugestões dos elementos do júri
Keywords
Leitmotif Anime Narrativa Intramedialidade Intermedialidade Transmedialidade Metanarrativa Narratologia Narrative Metanarrative Narratology Intramediality Intermediality Transmediality