SEQUENTIAL ART IN THE CONSTRUCTION OF THE COLD WAR NARRATIVE - WATCHMEN (1986-1987)

Representação e Arte sequencial na construção narrativa sobre a Guerra Fria

Abstract

This article seeks to analyze the historical and ideological representations in the work Watchmen (1986 – 1987) and the construction of the narrative about the Cold War from the perspective of its authors. As a methodology, assuming that the historical source in question is a sequential art, observation and reading of characters, dialogues and visual elements identified as symbolic vectors with fundamental narrative functions for the narrative composition were carried out. To this end, the theoretical foundation of this research relied mainly on Eisner (1999), Czizewesky (2011) and Lima (2017), who provided the improvement of analyzes on sequential art, in addition to Hobsbawm (2009), Chomsky (1999) and Magnoli (2008), which supported part of the reflections on power dynamics in the Cold War. As a result, we were able to conclude that the work proposes appropriations and reconfigurations of the recent past, reflecting profound global transformations, in particular, the decline of the Soviet socialist model and the solidification of the digital revolution in Silicon Valley as a new capital of power and development.