Descrição
Este artigo estuda a Graphic Novel Os 300 de Esparta e os cartazes do filme 300, tendo como base teorias estéticas e a semióticas. Investigam-se elementos expressivos desse material impresso, com ênfase na forma como produtos da indústria cultural e ligados ao entretenimento podem agregar dimensões artísticas em sua morfogênese.||While, during the 20th century, the public consensus, the entertainment, and the consumption were considered negative signals in relation to the aesthetic character of a production, the post-modernity comes to turn relative the opposition between massive products and works of art. It is acceptable, and even desirable, that a current product aggregates the purpose to entertain and, at the same time, to give an aesthetical experience. Supposing that by one side, resulting from the opposition between art and masses’ culture were well defined; by the other side, a post-modern conception admits the possibility of been created artistic productions and, simultaneously, faced to new concepts of the understandable and of the pleasing. Deriving from the re-extension of the artistic productions, and the knowledge, therefore can be noted, the ascension of the more acceptable works of art, instead of that vanguard productions or from the radical experimentalism, which brought each self the hermetical as a constructing principle.
