Transcendências narrativas: a reinterpretação do herói em Porco Rosso por meio da adaptação de The age of the flying boat

Abstract

This research focuses on the adaptation of the manga The Age of the Flying Boat (1989) into the anime Porco Rosso (1992), both created by Hayao Miyazaki, founder of the renowned Studio Ghibli and one of the world's most influential animation filmmakers. Positioned within the field of Interart Studies, which investigates the interrelations between different art forms, in this case literature and animation, this study aims to understand through comparative analysis how the transition from a literary work to an animated format results in the alteration and preservation of narrative elements, with particular emphasis on the central figure of Marco. The choice of this character is justified by his symbolic richness and the way the narrative addresses historical and cultural issues, specifically within the context of post-war Japan and the rise of fascism in Europe during the interwar period. The theoretical framework is supported by Interart Studies as conceptualized by Clüver (1997) and Adaptation Theory developed by Hutcheon (2013). Methodologically, this research adopts a qualitative and bibliographic approach, conducting a comparative analysis of both works based on the concepts of intersemiotic transposition and modes of engagement to examine how the expressive resources of each medium shape the narrative transformations. The results indicate that the audiovisual production allowed Miyazaki to significantly deepen the construction of the central character, expanding symbolic layers that were only outlined in the manga. In the film, Marco's depiction as an anthropomorphic pig carries metaphors that articulate themes of identity, guilt, and political critique, expressed differently in each medium. The adaptation enables a more intense development of the character through audiovisual resources, revealing his identity as a reflection of guilt and a critique of the hypocritical values of societies that obscure the true tragedy of war. Consequently, this study elucidates why the protagonist rejects the title of national hero and how the director uses this character to satirize the false justice of modern societies.