Vinhetas, vermes e vestígios: as várias faces do fascismo na distopia de V de Vingança de Alan Moore e David Lloyd

Abstract

The main goal of this dissertation was to observe the relationship established in comics, the way in which art and culture appear in opposition to the insurgency of a fascist regime, as well as the relationship between fascism and sexual perversion. Therefore, when choosing the work "V for Vendetta" by Alan Moore and David Lloyd, it was necessary to work with authors who addressed issues pertinent to the historical and cultural context in which the work is inserted. It was important, firstly, to briefly investigate the influences inherent to the work, as well as the context of comic books in the 1980s, which, in the light of authors such as Grant Morrison (2012), Greg Carpenter (2016) and Reed Tucker (2018) , making the analysis more robust. It was also relevant to use authors such as Umberto Eco (2008) and Valmor Beltrame (2009) to investigate unique aspects of "V for Vendetta", such as the deconstruction of a hero model, as well as the meanings of using the mask. Using authors such as Eric Hobsbawm (1995), for a general historical context, and Brian Harrison (2010) and George Fry (2008) when focusing more specifically on England, it was possible to construct a brief overview of the period. At the same time, authors such as Susan Sontag (1975) and Tzvetan Todorov (2007) contributed to the analysis that concerned the issue of fascists and the main elements of fascist regimes. Authors also stood out for understanding the elements of fascism and sexual perversion present in the work, such as Georges Didi-Huberman (2011), Michel Foucault (2017), as well as the cinematographic work of Pier Paolo Pasolini (1975). In this way, with this theoretical framework, it became possible, through the analysis and reading of historical elements, to successfully achieve the proposed objectives regarding the search for elements of criticism of the insurgent fascism in the English policies of the period, in addition to the elements of fascism and sexual perversion, as well as the analysis of the (de)construction of the figure of the classic hero and also the perception of comic books as a valid means for understanding sociocultural characteristics related to the context in which the work is inserted. And so, the work was able to conclude that the issues of criticism of fascism present in V for Vendetta are pertinent, especially since they denounce elements of the period itself and bring us a vivid reminder that fascism persisted and still persists even decades after the end of the Second World War.