Presença do fantástico em Coraline: um estudo intermidiático

Abstract

Coraline (2012) is a narrative that was adapted to many different media. Some authors as Poe (2010) and Arlindo Machado (2008), defining media and making comments over the role of art in it open discussion involving narrative production in a universe which is not made of separated media, but converging ones. Using Claus Clüver’s (2006) and Irina Rajewsky’s (2012) studies about art in intermidiality and adaptation according to Robert Stam (2006) and Linda Hutcheon (2006), we are able to better comprehend the functioning of what, originally called a genre by Todorov (2014), was debated and today is well-known as the fantastic narrative mode in a plurimidiatic universe such as Coraline. Starting from Freud’s (2017) theory about The Uncanny and from the narrative procedures and thematic systems of fantastic proposed by Remo Ceserani (2006), we analyze in this work the representation differences of these aspects on three different languages: on the pictures of the paratext, on the novel and on the animation.