Representações políticas da Guerra Fria: as histórias em quadrinhos de Alan Moore na década de 1980

Abstract

Among several cultural events known, involved in the construction of the social imaginary, one in particular will be used here as a basis to understand the Cold War: the comics (also known by the Brazilian acronym HQs). Glancing over of some aspects of this period and more specifically about some of the comics writer Alan Moore, written in the final decade of the Cold War, the 1980s, titled, Watchmen (miniseries originally published between 1986 and 1987 by DC Comics) and V for Vendetta (published between 1982 and 1988). Until the mid-1980s, the world saw the menace of nuclear war between the two emerging superpowers after the Second World War: the United States and the Soviet Union. Because of this probability, the fear of nuclear apocalypse was wide spread, in which all forms of life on the planet could have been eradicated. This fear of a nuclear holocaust increased in the same proportion as the two Superpowers and their allies were improving their weapons of mass destruction. Inserted in this context, Moore tried through the comics, to utter his opinion about this situation. Far from being presented as mere background, the Cold War, with its various ramifications, is in the works of Moore an object of reflection. Therefore, the idea here is precisely to bring the point of Moore, for whom All comics are political (Moore apud Sabin, 1993, p. 89), to his own work as a writer with the intent to address a central question how and on what terms the Cold War appears particularly represented in his selected works. There is an attempt to identify if, by incorporating cultural repertoires of their time thus enrolling in a land dispute and a negotiation that reproduces the dilemmas and paradoxes surrounding the Cold War the writers works , justify some sort of program for political action.