"O que é o luto se não o amor que perdura"?: a construção da personagem Wanda Maximoff na minissérie WandaVision

Abstract

The dissertation aimed to analyze the forms of representation organized for the development of Wanda Maximoff in the miniseries WandaVision (2021), produced by Marvel Studios and distributed by the Disney+ streaming service. The character originated in Marvel Comics in 1963 and debuted in the Marvel Cinematic Universe in 2014. The meaning of Wanda's progression in WandaVision lies in the character's grief after the death of Vision, her companion, who is a synthozoid, a humanoid robot with synthetic skin and organs. Which leads to the question of how a female character is represented from the comics to the series and what problems are implied in this representational form. Therefore, we will base this research on Wanda's relationships from the comics Vision Quest (Byrne, 2021), Avengers: Disassembled (Bendis; Finch, 2013), and House of M (Bendis; Coipel, 2006) to the miniseries. We use intertextuality (Genette, 2010) and diegetic intertextuality (Jeffries, 2014) to observe the dialogue between WandaVision and the comics. The studies of grief by Klein (1996), Bowlby (2004), and Parkes (2023), and the contributions of Guillaumin (2014), Lauretis (2019), and Oyěwùmí (2021) help us understand the female character model structured in Wanda. In the end, it was realized that WandaVision combines certain details from the comics, in addition to grief, and fits the protagonist into the role seen as normal for a female figure to play, that a woman with powers goes mad.