Ciborgue, estética e identidade: uma análise intersemiótica entre o filme Akira (1988) e o mangá Akira (1982-1990)

Abstract

This study will present a thematic analysis of the representation of the cyborg figure as a posthumanist metaphor, analyzing the concepts of identity and subjectivity in cinematic and literary narratives based on the film Akira (1988) and the manga series Akira (1982-1990) by writer, director, and screenwriter Katsuhiro Otomo. It will examine the theoretical foundations of posthumanism and the figure of the cyborg as effective critical resources for rethinking notions of identity and subjectivity in literary and cinematic narratives, thus presenting how literature and cinema represent hybrid or technologically mediated subjects, based on post-humanist theories, in a society that blends technological advances with many aspects of human life, also highlighting humans as hybrid beings, cyborgs. The objects of study in this research are all volumes of the literary manga work Akira (1982-1990) by Katsuhiro Otomo and its film adaptation Akira (1988), also directed by the author. In addition to thematic analysis, a study will also be conducted from an intersemiotic perspective on the translation between the two semiotic systems present in the objects of study, the cinematographic and the literary, in order to observe how adaptation occurs between these different semiotic systems. Some examples of theorists who support this study are Donna Haraway (2009), João Jerónimo Machadinha Maia, on the post-humanist theme and cyborg theories; Claude Dubar (2009) and Norbert Elias (1994) on identity; Gérard Betton (1987), Serguei Eisenstein (2002), Julio Cabrera (2006), Terry Eagleton (2006), Antoine Compagnon (1999), on cinematographic and literary theories; Brian Mcfarlane (1996) and Roland Barthes (1972) as a theoretical framework for intersemiotic translation.