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penguins-united · 1 year

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Books read in 2022!!

rereads are italicized, favorites are bolded

1. Harry Potter and the Goblet of Fire by JK Rowling

2. Boxers by Gene Luen Yang

3. Saints by Gene Luen Yang

4. The Maltese Falcon by Dashiell Hammett

5. The Murder of Roger Ackroyd by Agatha Christie

6. Immortal Poems of the English Language by Oscar Williams

7. Soldier’s Home by Ernest Hemingway

8. Shadow and Bone by Leigh Bardugo

9. Harry Potter and the order of the phoenix by JK Rowling

10. The Dead by James Joyce

11. Soldiers Three by Richard Kipling

12. The Hidden Life of Trees by Peter Wohlleben

13. Richard iii by William Shakespeare

14. Balcony of Fog by Rich Shapiro

15. All Systems Red by Martha Wells

16. Artificial Condition by Martha Wells

17. I have no mouth and I must scream by Harlan Ellison

18. Siege and Storm by Leigh Bardugo

19. The moment before the gun went off by Nadine Gordimer

20. The importance of being earnest by Oscar Wilde

21. A farewell to arms by Ernest Hemingway

22. Rogue Protocol by Martha Wells

23. Rules for a knight by Ethan Hawke

24. Harry Potter and the Half Blood Prince by JK Rowling

25. The Secret History by Donna Tartt

26. Harry Potter and the Deathly Hallows by JK Rowling

27. Gerard Manley Hopkins: The Major Poems by Gerard Manley Hopkins

28. Highly Irregular by Arika Okrent

29. The Green Mile by Stephen King

30. The Swan Riders by Erin Bow

31. The King’s English by Henry Watson Fowler

32. The Truelove by Patrick O’Brian

33. The Glass Key by Dashiell Hammett

34. The Wine-Dark Sea by Patrick O’Brian

35. The Commodore by Patrick O’Brian

36. An Old-Fashioned Girl by Louisa May Alcott

37. Long Day’s Journey Into Night by Eugene O’Neill

38. The Disaster Area by JG Ballard

39. The Tacit Dimension by Michael Polanyi

40. Wicked Saints by Emily A Duncan

41. The Pillowman by Martin McDonagh

42. The Thief by Megan Whalen Turner

43. The Goldfinch by Donna Tartt

44. The Queen of Attolia by Megan Whalen Turner

45. Exit Strategy by Martha Wells

46. The King of Attolia by Megan Whalen Turner

47. A Conspiracy of Kings by Megan Whalen Turner

48. Thick as Thieves by Megan Whalen Turner

49. Return of the Thief by Megan Whalen Turner

50. Cat’s Cradle by Kurt Vonnegut

51. Confessions of St. Augustine by St. Augustine of Hippo

52. Little Lord Fauntleroy by Frances Hodgson Burnett

53. The Yellow Admiral by Patrick O’Brian

54. Bad Pharma by Ben Goldacre

55. The Russian Assassin by Jack Arbor

56. The ones who walk away from Omelas by Ursula K LeGuin

57. Captains Courageous by Rudyard Kipling

58. The Iliad by Homer

59. The Treadstone Transgression by Joshua Hood

60. The Hundred Days by Patrick O’Brian

61. Rosencrantz and Guildenstern are dead by Tom Stoppard

62. The Myth of Sisyphus by Albert Camus

63. Waiting for Godot by Samuel Beckett

64. Sir Gawain and the Green Knight, the Pearl, and Sir Orfeo (unknown)

65. Persuasion by Jane Austen

66. The Outsiders by SE Hinton

67. Bartleby the Scrivener by Herman Melville

68. The Odyssey by Homer

69. Dead Cert by Dick Francis

70. The Oresteia by Aeschylus

71. The Network Effect by Martha Wells

72. All Art is Propaganda: Critical Essays by George Orwell

73. This is how you lose the time war by Amal El-Mohtar

74. The Epic of Gilgamesh (unknown author)

75. The Republic by Plato

76. Oedipus Rex by Sophocles

77. On the Genealogy of Morals by Friedrich Nietzsche

78. Ere the Cock Crows by Jens Bjornboe

79. Mid-Bloom by Katie Budris

80. Blue at the Mizzen by Patrick O’Brian

81. 21 by Patrick O’Brian

82. To Kill a Mockingbird by Harper Lee

83. Battle Cry by Leon Uris

84. Devils by Fyodor Dostoevsky

85. The Uncanny by Sigmund Freud

86. The Door in the Wall by HG Wells

87. Oh Whistle and I’ll Come to You My Lad by MR James

88. The Birds and Don’t Look Now by Daphne Du Maurier

89. The Weird and the Eerie by Mark Fisher

90. Blackout by Simon Scarrow

91. In Cold Blood by Truman Capote

92. No Exit and Three Other Plays by Jean-Paul Sartre

93. The Open Society and its Enemies volume one by Karl Popper

94. Mother Night by Kurt Vonnegut

95. The Ethics of Ambiguity by Simone de Beauvoir

96. The Cue for Treason by Geoffrey Trease

97. The things they carried by Tim O’Brien

98. A very very very dark matter by Martin McDonagh

99. The Road to Serfdom by Friedrich A Hayek

100. The Lonesome West by Martin McDonagh

101. A Skull in Connemara by Martin McDonagh

102. The Beauty Queen of Leenane by Martin McDonagh

103. Beyond Good and Evil by Friedrich Nietzsche

104. The Power and the Glory by Graham Greene

105. The Shepherd by Frederick Forsyth

106. Things have gotten worse since we last spoke and other misfortunes by Eric LaRocca

107. Each thing I show you is a piece of my death by Gemma Files

108. Different Seasons by Stephen King

109. Dracula by Bram Stoker

110. Inker and Crown by Megan O’Russell

111. Out of the Silent Planet by CS Lewis

112. Killers by Patrick Hodges

113. The Game of Kings by Dorothy Dunnett

114. The Rise and Reign of Mammals by Stephen Brusatte

115. Any Means Necessary by Jack Mars

116. The Birth of Tragedy by Friedrich Nietzsche

117. In A Glass Darkly by J Sheridan le Fanu

118. Collected Poems by Edward Thomas

119. The Longer Poems by TS Eliot

120. Harry Potter and the Sorcerer’s Stone

121. The Elegant Universe by Brian Greene

122. The Antichrist by Friedrich Nietzsche

123. Choice of George Herbert’s verse by George Herbert

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missygoesmeow · 2 years

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GUESS MY TYPE tagged by @r3ptil3 + @copiousloverofcopia <3 <3

this is the hardest thing i've ever done - choosing ten only?!

Evan Rachel Wood (Sophie-Anne Leclerq - True Blood)

(Kathryn Hahn (Agnes/Agatha Harkness - WandaVision)

Miranda Otto (Zelda Spellman - (Chilling Adventures of Sabrina)

Sarah Paulson (Cordelia Goode - American Horror Story)

Gillian Anderson (Dr Bedelia Du Maurier - NBC Hannibal)

Ben Barnes (Logan Delos - Westworld)

Richard Armitage (Guy of Gisborne -BBC Robin Hood)

Henry Cavill (Geralt of Rivia - The Witcher)

Tom Hiddleston (Sir Thomas Sharpe - Crimson Peak)

Gerard Butler (The Phantom/Erik - Phantom of the Opera)

tagging @ryuzatodraws @waricka @monstranceglock @abusivegreed @tsukaiyomi @bewitchingmoonlight and whoever else wants to join!!

#i know there is no papa #i am as disgusted with myself as you are #im so sorry #i will hand in my papa simp license immediately #*throws self into the ghoid*#tag game

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sherlockholmesmypiratesociopath · 4 months

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Books I read in 2023 and How I feel about them/do I even remember them

Bluebeard by Kurt Vonnegut ##very good and very anti war and pro art like most Vonnegut and great way to start a year

Rebecca by Daphane Du Maurier ##liked it fine not very memorable

Stardust by Neil Gaimen ##loved it

Mary Shelley's Frankeinstein: A Graphic Novel by Pete Katz (Illustrator/script writer) and Mary Wollstonecraft Shelley ##fine

Most of Woman Hollering Creek and Other Stories by Sandra Cisneros ##haunted by it so had to stop

An Easy Death by Charlene Harris ##loves it and convinced me to read other Harris books

Russian Cage by Charlene Harris ##liled it fine

Upright Women Wanted by Sarah Gailey ##so gay, wateres my crops etc, need more of this, could read a 100000 more books like this, could trick you into loving Westerners

Dark Tales: The Hound of the Baskervilles: A Graphic Novel by Ned Hartley (adapter), Dave Shephard (Illustrator), Arthur Conan Doyle ##fine

Most of Trigger Warning by Neil Gaimen ##loved it, all the best short stories Gaimen wrote

The Dark Divine by Bree Despain ##worst book ever, its offensive to everyone, its anti everyone, it hates ever religion

The Ballad of Songbirds and Snakes by Suzanne Collins ##Girl tore me up and spat me out, how did you show everything wrong with snow and the games in a new light and can I saw sooo good

The Umbrella Academy Collection Part 1 by Gerard Way (Writer), Gabriel Bá (Artist), Dave Stewart (Colourist), Tony Šercer (Translator) ##liked the show much more

The Selection, The Elite and The One by Kiera Cass ##three books on one cause they run together and they are fine

The Screwtape Letters by CS Lewis ##sooo good like a treat

The Hunger Games by Suzanne Collins ##still holds up real good

Dead Till Dark by Charlene Harris ##oh true blood was better tv

Living Dead in Dallas by Charlene Harris ##oh jason really sucks and man Eric is soo fun but they murdered my boy without any real bite, very bury your gays and sure I have a black friend, so the tv show is sooo elevated

#i did bullet journal track list #long post #personal

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lost-in-books94 · 4 years

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Reading Log 2020

Oh my gosh, how can I forget to do a reading log???

Here we go again...

1) Little Women- Louisa May Alcott (re-read)

2) The Secret History- Donna Tartt (re-read)

3) Angel Mage- Garth Nix

4) A Heart So Fierce and Broken- Brigid Kemmerer

5) Red, White & Royal Blue- Casey McQuiston (re-read)

6) Heartstopper: Volume One- Alice Oseman

7) Heartstopper: Volume Two- Alice Oseman

8) The Gentleman's Guide to Vice and Virtue- Mackenzi Lee

9) Captive Prince- C.S. Pacat

10) Heartstopper: Volume Three- Alice Oseman

11) The Last Nude- Ellis Avery

12) Our Dark Duet- V.E. Schwab

13) The Tenant of Wildfell Hall- Anne Bronte

14) The Devouring Gray- Christine Lynn Herman (re-read)

15) Even the Darkest Stars- Heather Fawcett (re-read)

16) House of Earth and Blood- Sarah J. Maas

17) Pride and Prejudice- Jane Austen (re-read)

18) The Hundred Thousand Kingdoms- N.K. Jemisin

19) The Midnight Lie- Marie Rutkoski

20) The Mime Order- Samantha Shannon

21) Havenfall- Sara Holland

22) The Priory of the Orange Tree- Samantha Shannon (re-read)

23) The City We Became- N.K. Jemisin

24) All the Wandering Light- Heather Fawcett

25) The Song Rising- Samantha Shannon

26) Villette- Charlotte Bronte

27) The Beautiful- Renee Ahdieh

28) The Shadows Between Us- Tricia Levenseller

29) The Deck of Omens- Christine Lynn Herman

30) Aurora Rising- Amie Kaufman & Jay Kristoff (re-read)

31) Wicked Saints- Emily A. Duncan

32) Heart of Iron- Ashley Poston

33) Becoming- Michelle Obama

34) A Short History of Nearly Everything- Bill Bryson

35) Aurora Burning- Amie Kaufman & Jay Kristoff

36) The Cruel Prince- Holly Black (re-read)

37) The Wicked King- Holly Black (re-read)

38) The Queen of Nothing- Holly Black (re-read)

39) The Nicomachean Ethics- Aristotle

40) The Scarlet Letter- Nathaniel Hawthorne

41) The Princess Diarist- Carrie Fisher

42) Moonscript- H.S.J. Williams

43) Nevernight- Jay Kristoff (re-read)

44) Godsgrave- Jay Kristoff (re-read)

45) Anna Karenina- Leo Tolstoy

46) Darkdawn- Jay Kristoff (re-read)

47) Wishful Drinking- Carrie Fisher

48) Frankenstein- Mary Wollstonecraft Shelley

49) A Room with a View- E.M. Forster

50) The Court of Miracles- Kester Grant

51) Jo & Laurie- Margaret Stohl & Melissa de la Cruz

52) Lady Susan- Jane Austen

53) A Little Life- Hanya Yanagihara

54) No One Is Too Small to Make A Difference- Greta Thunberg

55) Mansfield Park- Jane Austen

56) We Rise: Speeches by Inspirational Black Women- Amanda Meadows, Barbara Jordan, Condoleezza Rice et al.

57) Falling Kingdoms- Morgan Rhodes

58) Daughter of Smoke and Bone- Laini Taylor

59) Crime and Punishment- Fyodor Dostoyevsky

60) Mythos: The Greek Myths Retold- Stephen Fry

61) The Archived- V.E. Schwab

62) The Unbound- V.E. Schwab

63) Good Omens- Terry Pratchett & Neil Gaiman (re-read)

64) The Southern Book Club’s Guide to Slaying Vampires- Grady Hendrix

65) War and Peace- Leo Tolstoy

66) White Fragility- Robin DiAngelo & Michael Eric Dyson

67) The Damned- Renee Ahdieh

68) Northanger Abbey- Jane Austen

69) Hamlet- William Shakespeare

70) The Master and Margarita- Mikhail Bulgakov

71) The Good Immigrant- Nikeh Shukla etc.

72) The Picture of Dorian Gray- Oscar Wilde

73) Shockaholic- Carrie Fisher

74) Feminists Don’t Wear Pink and Other Lies- Scarlett Curtis etc

75) The Umbrella Academy, Vol 2: Dallas- Gerard Way & Gabriel Ba

76) The People in the Trees- Hanya Yanagihara

77) Out of Orange- Cleary Wolters

78) Rebecca- Daphne du Maurier

79) The Umbrella Academy, Vol 3: Hotel Oblivion- Gerard Way & Gabriel B

80) City of Bones- Cassandra Clare (re-read)

81) The Sandman- Neil Gaiman & Dirk Maggs (audiobook)

82) Much Ado About Nothing- William Shakespeare

83) Gideon the Ninth- Tamsyn Muir

84) The Soul of a Man Under Socialism- Oscar Wilde

85) De Profundis- Oscar Wilde

86) A Brief History of Time: From the Big Bang to Black Holes- Stephen Hawking

87) The Lost Book of the White- Cassandra Clare & Wesley Chu

88) City of Ashes- Cassandra Clare

89) Mortal Engines- Philip Reeve

90) City of Glass- Cassandra Clare

91) City of Fallen Angels- Cassandra Clare

92) Predator’s Gold- Philip Reeve

93) City of Lost Souls- Cassandra Clare

94) City of Heavenly Fire- Cassandra Clare

95) Infernal Devices- Philip Reeve

96) The Catcher in the Rye- J.D. Salinger

97) Murder on the Orient Express- Agata Christie

98) Clockwork Angel- Cassandra Clare

99) Fire and Fury: Michael Wolff

100) Clockwork Prince- Cassandra Clare

101) Clockwork Princess- Cassandra Clare

102) The Invisible Life of Addie LaRue- V.E. Schwab

103) The Bane Chronicles- Cassandra Clare

104) Midnight Sun- Stephenie Meyer

105) The Bell Jar- Sylvia Plath

106) Heroes:Mortals and Monsters, Quests and Adventures- Stephen Fry

107) Harrow the Ninth- Tamsyn Muir

#reading log

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bloglivre-blog · 4 years

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Plágio ou homenagem? Conheça algumas polêmicas no cinema e na literatura

New Post has been published on http://baixafilmestorrent.com/cinema/plagio-ou-homenagem-conheca-algumas-polemicas-no-cinema-e-na-literatura/

Plágio ou homenagem? Conheça algumas polêmicas no cinema e na literatura

Após o anúncio dos indicados ao Oscar 2018, duas produções que concorrem na categoria de Melhor Filme foram acusadas de plágio: A Forma da Água e Lady Bird – A hora de voar. A primeira delas, A Forma da Água, dirigida pelo cineasta mexicano Guillermo del Toro é recordista em indicações ao Oscar deste ano com 13 categorias. No entanto, David Zindel, filho do escritor vencedor do Pulitzer Paul Zindel (1936-2003), alega que a trama é “claramente inspirada” na peça Let me Hear You Whisper, lançada pelo pai em 1969: “Estamos chocados que um grande estúdio tenha feito um filme obviamente derivado do trabalho do meu pai sem qualquer tipo de reconhecimento ou pedido de aquisição dos direitos”, afirmou David Zindel em comunicado enviado ao The Guardian.

No filme de Del Toro, uma faxineira muda Elisa (Sally Hawkins) cria uma amizade e se afeiçoa por uma criatura aquática desconhecida (porém semelhante a um hominídeo) mantida em cativeiro em uma instalação governamental. Ela usa comida para ganhar a confiança da criatura e desenvolve um plano para ajudá-la a fugir escondida dentro de um carrinho de roupa suja depois de ouvir os cientistas mencionarem que usariam a espécie para estudo. Segundo o site da Rolling Stone, em Let me Hear You Whisper a zeladora Helen também se apaixona por uma criatura aquática só que é um golfinho, igualmente criado em uma instalação do governo. Apesar de não ser muda Helen faz referência a mudez quando fala sobre a incomunicabilidade dos cientistas com o animal: “Alguns humanos são mudos, você sabe. Nós não os matamos só porque eles não podem falar”, diz a personagem. Ela também usa comida para ganhar a confiança do golfinho e utiliza um carrinho de roupa suja para escapar como animal. Na peça, os cientistas também falam sobre realizar a vivissecção do golfinho.

O longa indicado em 13 categorias no Oscar recebeu uma segunda acusação de ter plagiado um curta holandês de 2012 – da qual foi inocentado pela Academia local de cinema – mas nesta semana foi a vez de Jean-Pierre Jeunet, diretor de O Fabuloso Destino de Amélie Poulain (2001), acusar mais uma vez o diretor mexicano. De acordo com o realizador europeu, del Toro teria copiado uma cena inteira de Delicatessen (1991) em seu novo filme (via Ouest-France):

“Eu disse a ele: Você tem muita imaginação, muito talento. Por que roubar as ideias dos outros? Ele me respondeu: Nós devemos tudo a Terry Gilliam. Segundo ele, ele não roubou nada de ninguém, foi Terry Gilliam que nos influenciou. Mas é claro que roubou. Quando ele faz a cena de um casal sentado na ponta da cama dançando com os pés, com uma comédia musical passando na televisão ao fundo, é tão copiado e colado de Delicatassen que cheguei a dizer para mim mesmo em um momento que isso é a maior falta de respeito”.

Em seguida foi a vez da comédia dramática Lady Bird – A hora de voar, escrita e dirigida por Greta Gerwig, também ser acusada pela roteirista mexicana Josefina Lopez de ser parecida com seu filme Mulheres de Verdade Tem Curvas (Real Woman Have Curves), dirigido pela colombiana naturalizada americana Patricia Cardoso e lançado em 2002. Em entrevista para o portal Hoy Los Angeles, Josefina declarou: “Eu gostei de Lady Bird, mas, em certos momentos, pensei como a mãe [vivida por Laurie Metcalf] era parecida com a mãe do meu filme. Depois reparei como eles não iam deixá-la ir pra faculdade, como no meu longa. Parecia uma versão branca dele.” Lopez não está processando Gerwig, mas tem chamado atenção em diversas entrevistas para as similaridades entre os filmes.

Apesar das semelhanças, Josefina Lopez revela que a diferença na recepção de cada filme foi o que realmente a incomodou: “Eu também mereço um espaço em Hollywood e ter a oportunidade de continuar contando histórias impactantes. Eu escrevi uma versão melhor de Lady Bird que desafia o ‘status quo’. Queria que meu filme tivesse sido apreciado dessa mesma forma.” O longa Mulheres de Verdade Tem Curvas acompanha a história de uma adolescente de origem latina que nasceu nos Estados Unidos, um pouco acima do peso e que enfrenta dificuldades culturais, conflitos de classe e deveres familiares, ao mesmo tempo, que luta para realizar seus sonhos. O filme foi premiado no Festival de Sundance e chegou a ser exibido em mostras de cinema independente, mas não teve tamanha repercussão.

Mas não é de hoje que obras aclamadas, premiadas e amadas pelo público são acusadas de plágio por outros artistas ou cineastas. Em 2013, As Aventuras de Pi (Life of Pi) dirigido pelo taiwanês Ang Lee foi um dos favoritos ao Oscar com 11 indicações, incluindo: Melhor Filme, Melhor Diretor (venceu), Melhor Roteiro Adaptado, Melhor Fotografia (venceu), Melhores Efeitos Visuais (venceu) e Melhor Trilha Sonora (venceu). No entanto, o roteiro foi adaptado do romance de 2001 de mesmo nome escrito por Yann Martel que por sua vez se baseou no livro Max e Os Felinos, do escritor brasileiro Moacyr Scliar (1937-2011), publicado pela primeira vez em 1981. Essa polêmica começou a ganhar visibilidade em 2002, quando o livro de Martel recebeu o prêmio Booker do ano e a imprensa levantou a suspeita de plágio como o próprio Moacyr explica:

Vicky Cristina Barcelona (2008), escrito e dirigido por Woody Allen também não escapou das acusações de plágio devido as “numerosas coincidências e paralelismos” com o romance Goodbye, Barcelona, escrito por Alexis de Vilar e registrado em 1987. O escritor catalão declarou em entrevista exclusiva ao site Hoy Cinema que Allen desfigurou seu livro para evitar qualquer queixa de sua parte: “Ele fez o que é chamado de ‘deslocalização dos personagens’: o romance foi alterado, passado pelo liquidificador para que não fosse reconhecido, mas eu o reconheci”, desabafa Alexis. Para haver plágio, as obras devem possuir coincidências em “títulos, frases, nomes, etc.”, e na opinião de Vilar o filme contém frases e cenas de seu texto. Goodbye, Barcelona foi finalista de prêmios na Espanha e passou por diversas editoras espanholas e estrangeiras, além de produtoras cinematográficas, mas só foi lançado em outubro de 2008, depois da estreia da produção de Woody Allen.

Em 2014, foi a vez de True Detective (HBO) ser acusada de plágio pelos blogs Thomas Ligotti Online e The Lovecraft eZine que juntos expuseram vários diálogos mostrando que o criador do programa, Nic Pizzolatto, havia reproduzido trechos do livro A Conspiração Contra a Raça Humana (The Conspiracy Against the Human Race: A Contrivance of Horror), de Thomas Ligotti. Segundo Mike Davis e Jon Padgett, fundadores dos blogs, algumas falas de Rust Cohle (Matthew McConaughey) célebre série da HBO seriam fiéis demais para configurar uma simples homenagem. Pizzolatto, que já havia se manifestado publicamente sobre a influência de Ligotti, comentou a respeito do assunto (via Omelete):

“Nada na série True Detective foi plagiado. Os pensamentos expressados por Rust Cohle não representam nenhum pensamento ou ideia específica a nenhum autor; na verdade, eles são dogmas de uma filosofia pessimista e antinatalista com uma tradição histórica que inclui Arthur Schopenauer, Friedrich Nietzche, E.M. Cioran e vários outros filósofos, todos os quais expressaram essas ideias. Como um pessimista autodidata, Cohle fala sobre essa filosofia com erudição e em suas próprias palavras. As ideias dentro dessa filosofia certamente não são exclusivas de nenhum escritor.”

No ano passado, a Netflix também foi acusada de plágio por causa do filme Código de Silêncio (Burning Sands). A informação é do portal Terra. O escritor Al Quarles Jr. afirma que Christine Berg e o diretor Gerard McMurray finalizaram o roteiro do longa dois anos após o lançamento do primeiro volume de sua obra sem terem adquirido os direitos de adaptação, copiando cenas e diálogos inteiros. Al Quarles Jr. está processando a companhia de streaming, a produtora e os roteiristas do filme por terem utilizado seu livro, Burning Sands: My Brothers Keepers, sem sua autorização legal ou ciência: “O livro narra uma história de amadurecimento de seis jovens que tentam entrar em uma fraternidade de uma universidade rural, historicamente negra. Em adição ao título e cenários idênticos, a narrativa do filme contém elementos que são virtualmente idênticos aos do livro, incluindo personagens com os mesmos nomes e pontos da história que foram criados para criar os mesmos significados e representações”, escreveu o advogado de Quarles Jr. na ação movida pelo autor.

Aqui no Brasil, na época da exibição da novela A Sucessora (1978), produzida pela Rede Globo, muitos acreditaram, erradamente, que a trama se baseava no livro Rebecca da inglesa Daphne Du Maurier. Porém, A Sucessora é o nome de um romance da escritora brasileira Carolina Nabuco (1890-1981) publicado pela primeira vez em 1934. O livro de Daphne du Maurier que inspiraria o filme homônimo de Alfred Hitchcock, em 1940, foi publicado em 1938 quatro anos depois de A Sucessora. As semelhanças entre as duas histórias foram destacadas em artigo publicado no The New York Book Review, segundo conta a própria Carolina nas páginas de Oito Décadas, sua autobiografia: . O fato teve repercussão no Brasil, mas Carolina não cogitou processar os editores ingleses. Quando o filme Rebecca chegou ao país, os advogados da United Artists a procuraram para que assinasse um termo (mediante uma compensação financeira) concordando que tinha havido “coincidência”, mas Carolina negou-se.

O princípio químico da conservação de massas, também conhecido como Lei de Lavoisier, é sintetizado na frase: “Na natureza nada se cria, nada se perde, tudo se transforma”. Em outras palavras: “nada vem do nada”. Essas duas frases por mais poéticas que sejam querem dizer a mesma coisa: a matéria não surge espontaneamente. Voltando ao mundo das Artes, será que o mesmo princípio não poderia ser aplicado? Toda obra tem um ponto de inspiração que pode surgir de acontecimentos da vida real ou fazendo referências a outras criações. O plágio é caraterizado pela cópia de um texto completa ou parcialmente sem dar os devidos créditos ou sem a autorização do autor para fins comerciais ou acadêmicos. O plágio é crime com pena prevista em lei em vários países pois isso configura uma forma de roubo de ideia. No Brasil, os direitos autorais são assegurados conforme o Art. 5º, incisos XXVII e XXVIII, da Constituição Federal e o Código Penal brasileiro tem uma sessão que trata especificamente dos Crimes Contra a Propriedade Intelectual (Art. 184 a 186).

Em um livro a ser publicado pela editora D.S. Brewer e pela Biblioteca Britânica, os pesquisadores Dannis McCarthy e June Schlueter sugerem que 11 obras de William Shakespeare teriam sido inspiradas no manuscrito A Brief Discourse of Rebellion and Rebels (Uma Breve Dissertação Sobre a Rebelião e os Rebeldes, em tradução livre), escrita por George North em 1500. Dennis McCarthy, que é um autodidata nas obras de Shakespeare, usou o software antiplágio WCopyFind, por meio do qual foi possível identificar palavras e frases que as obras possuíam em comum. Segundo o pesquisador, o dramaturgo britânico repete uma sucessão de palavras usadas no trabalho de North no discurso inicial de Ricardo III. É normal encontrar algumas palavras em comum, mas não todas: “É uma fonte para a qual ele [Shakespeare] continua voltando. Isso afeta a linguagem, ajuda a moldar as cenas e, até certo ponto, influencia a filosofia das peças”, afirmou o especialista em entrevista ao jornal The New York Times.

Já o designer e escritor Austin Kleon fez um manifesto ilustrado sobre como ser criativo na era digital intitulado Roube Como um Artista, publicado no Brasil em 2008 pela editora Rocco. O livro entrou na lista dos mais vendidos do The New York Times e mostra com bom humor, ousadia e simplicidade que não é preciso ser um gênio para ser criativo, basta ser autêntico. Após listar as 10 dicas sobre criatividade que serão abordadas ao longo da obra, Kleon usa citações de grandes nomes do universo artístico dentre eles Pablo Picasso, considerado o mestre da pintura no século XX, que afirmou que “Arte é furto” e T.S. Eliot, poeta e dramaturgo premiado com o Nobel de Literatura em 1948, que disse: “Poetas imaturos imitam; poetas maduros roubam; poetas ruins desfiguram o que pegam e poetas bons transformam em algo melhor, ou pelo menos diferente. O bom poeta amalgama o seu furto a um conjunto sensível que é único, completamente diferente daquele de onde foi removido.”

Na sétima arte o debate em torno da apropriação artística de forma indevida também é recorrente. Uma cena muito homenageada no cinema é a sequência do fuzilamento na escadaria de Odessa, do filme O Encouraçado Potemkin (1925), do cineasta soviético Sergei Eisenstein. Pelo menos outros dois grandes diretores prestam tributo ao mestre soviético: Alfred Hitchcock em Correspondente Estrangeiro (1940) e, mais tarde, o cineasta norte-americano Brian De Palma na cena do tiroteio entre os gângsteres de Os Intocáveis (1987).

Outro momento icônico do cinema foi protagonizado por Jack Nicholson como Jack Torrance, em O Iluminado, quando ele quebra uma porta com um machado. Essa cena, por exemplo, foi inspirada em um filme bem mais antigo: A Carruagem Fantasma (The Phanton Carriage), de 1921, do ator e cineasta sueco Victor Sjöström (1879-1960).

Em Pulp Fiction: Tempo de Violência, mais do que um plágio, uma praxe no cinema de Quentin Tarantino: quando Butch (Bruce Willis) está dirigindo um carro e dá de cara com Marcellus Wallace (Ving Rhames) atravessando a rua na sua frente também é igual a cena clássica de Psicose (1960), de Alfred Hitchcock, em que a secretária Marion Crane (Leigh) dá vê seu empregador no sinal após dar um desfalque na imobiliária onde trabalhava. Aliás, Quentin Tarantino é um desses cineastas que sempre presta homenagens e referências a outros filmes, mas o agressivo Kill Bill – Volume 1, de 2004, tem exatamente a mesma premissa e muitas cenas de ação parecidas com Lady Snowblood – Vingança na Neve (1973), do diretor japonês Toshiya Fujita, que por sua vez já era uma adaptação do mangá homônimo escrito por Kazuo Koike.

Posteriormente, outro caso repercutiu bastante dessa vez envolvendo o ilustrador inglês William Roger Dean, notório por seus trabalhos realizados para bandas como Yes e jogos eletrônicos, que se manifestou na época do lançamento de Avatar, em 2009, dizendo que James Cameron e companhia copiaram suas ilustrações para criar o mundo de Pandora em um dos filmes mais bem-sucedidos da história do cinema.

O arquiteto americano Lebbeus Woods foi outro que reclamou do uso de uma de suas obras no filme Os 12 Macacos (1995), dirigido por Terry Gilliam. Trata-se de uma cadeira alongada fixada no alto de uma parede intitulada Neomechanical Tower (Upper) Chamber. Woods reivindicou o uso de seu design pelo cineasta na cena em que o ator Bruce Willis é interrogado pelos cientistas sentado em uma cadeira presa na parede.

O que se conclui é que a apropriação artística pode ser pensada como uma prática para endossar a corrente que afirma que a autoria na arte é uma noção ultrapassada ou equivocada, mas não é bem assim que muitos artistas se sentem a respeito de terem suas obras sendo usadas como referências para outros trabalhos. Diferentemente do plágio que tem por interesse se fazer passar pelo autor original, a apropriação reside no fato de que os artistas devem propor algum novo sentido ou tornar possível uma releitura a partir da obra escolhida para então assim tornar seu trabalho legítimo de alguma forma. Um exemplo disso é O Rei Leão, um dos maiores clássicos de animação da Disney, que é baseado em Hamlet peça escrita por William Shakespeare entre 1599 e 1601. Tanto o filme quanto a peça de Shakespeare têm em comum o enredo no qual um jovem príncipe tem a sua vida e posição ameaçadas depois que seu tio mata seu pai assume o trono. O que os roteiristas da animação fizeram foi deslocar a trama original para o ambiente da selva e transformá-la em uma fábula na qual o leão, conhecido por ser o rei da floresta, é traído por seu irmão ambicioso.

#A Forma da Água_Guillermo del Toro #A Sucessora_Carolina Nabuco #As Aventuras de Pi_Max e os felinos_Moacyr Scliar #Lady Bird – A hora de voar_Greta Gerwig #Let me Hear You Whisper_Paul Zindel #Mulheres de Verdade Tem Curvas_Josefina Lopez #plágio_apropriação artística #plágio_Jean-Pierre Jeunet_Delicatessen #Rebecca_Daphne Du Maurier_Alfred Hitchcock #Vicky Cristina Barcelona_Goodbye Barcelona_Alexis de Vilar

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edc-creations-blog · 5 years

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Watching You: A Novel by Lisa Jewell

“Quickly and assuredly, Jewell builds an ecosystem of countervailing suspicions…Tricky, clever, unexpected.” —New York Times Book Review

“Brace yourself as Jewell stacks up the secrets, then lights a long, slow fuse.” —People

“A seize-you-by-the-throat thriller and a genuinely moving family drama.” —A.J. Finn, #1 New York Times bestselling author of The Woman in the Window

The instant New York Times and #1 Sunday Times bestselling author of the Then She Was Gone delivers another suspenseful page-turner about a shocking murder in a picturesque and well-to-do English town, perfect “for fans of Gone Girl, The Girl on the Train, and Luckiest Girl Alive” (Library Journal).

Melville Heights is one of the nicest neighborhoods in Bristol, England; home to doctors and lawyers and old-money academics. It’s not the sort of place where people are brutally murdered in their own kitchens. But it is the sort of place where everyone has a secret. And everyone is watching you.

As the headmaster credited with turning around the local school, Tom Fitzwilliam is beloved by one and all—including Joey Mullen, his new neighbor, who quickly develops an intense infatuation with this thoroughly charming yet unavailable man. Joey thinks her crush is a secret, but Tom’s teenaged son Freddie—a prodigy with aspirations of becoming a spy for MI5—excels in observing people and has witnessed Joey behaving strangely around his father.

One of Tom’s students, Jenna Tripp, also lives on the same street, and she’s not convinced her teacher is as squeaky clean as he seems. For one thing, he has taken a particular liking to her best friend and fellow classmate, and Jenna’s mother—whose mental health has admittedly been deteriorating in recent years—is convinced that Mr. Fitzwilliam is stalking her.

Meanwhile, twenty years earlier, a schoolgirl writes in her diary, charting her doomed obsession with a handsome young English teacher named Mr. Fitzwilliam…

In Lisa Jewell’s latest brilliant “bone-chilling suspense” (People) no one is who they seem—and everyone is hiding something. Who has been murdered—and who would have wanted one of their neighbors dead? As “Jewell teases out her twisty plot at just the right pace” (Booklist, starred review), you will be kept guessing until the startling revelation on the very last page.

About The Author Lisa Jewell is the internationally bestselling author of eighteen novels, including the New York Times bestseller Then She Was Gone, as well as I Found You, The Girls in the Garden, and The House We Grew Up In. In total, her novels have sold more than two million copies across the English-speaking world and her work has also been translated into sixteen languages so far. Lisa lives in London with her husband and their two daughters. Connect with her on Twitter @LisaJewellUK and on Facebook @LisaJewellOfficial.

Her Deadly Secrets By Laura Griffin

A young private investigator finds out the price of keeping deadly secrets when a vicious killer sets his sights on her in this pulse-pounding thriller from the USA TODAY and New York Times bestselling author of the Tracers series.

Private investigator Kira Vance spends her days navigating the intricate labyrinth of Houston’s legal world, and she knows all of its shadowy players and dark secrets.

On a seemingly normal day, she’s delivering a report to her top client when suddenly everything goes sideways and the meeting ends in a bloodbath. Twenty-four hours later, the police have no suspects but one thing is clear: a killer has Kira in his sights.

Fiercely independent, Kira doesn’t expect—or want—help from anyone, least of all an unscrupulous lawyer and his elite security team. Instead, she launches her own investigation, hoping to uncover the answers that have eluded the police. But as Kira’s hunt for clues becomes more and more perilous, she realizes that she alone may hold the key to finding a vicious murderer. And she knows she must take help wherever she can find it if she wants to stay alive…

Written with Laura Griffin’s signature “gritty, imaginative, sexy” (Cindy Gerard, New York Times bestselling author) style, Her Deadly Secrets is an electrifying and scintillating novel that packs a powerful punch.

Purchase Her Deadly Secrets (Wolfe Security) by Laura Griffin https://www.amazon.com/Her-Deadly-Secrets-Wolfe-Security/dp/1501162438

About The Author Laura Griffin is the New York Times bestselling author of the Tracers series, the Wolfe Sec series, the Alpha Crew series, and several other novels. A two-time RITA Award winner and the recipient of the Daphne du Maurier Award, Laura lives in Austin, where she is working on her next book. Visit her at LauraGriffin.com, and on Facebook at Facebook.com/LauraGriffinAuthor.

Summer 2019 New Releases: Psychological Thrillers Watching You: A Novel by Lisa Jewell “Quickly and assuredly, Jewell builds an ecosystem of countervailing suspicions…Tricky, clever, unexpected.” —New York Times Book Review…

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writingguide003-blog · 5 years

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Top writers choose their perfect crime

New Post has been published on https://writingguideto.com/must-see/top-writers-choose-their-perfect-crime/

Top writers choose their perfect crime

Crime fiction is now the UKs bestselling genre. So which crime novels should everyone read? We asked the writers who know …

On Beulah Height by Reginald Hill Val McDermid

This is the perfect crime novel. Its beautifully written elegiac, emotionally intelligent, evocative of the landscape and history that holds its characters in thrall and its clever plotting delivers a genuine shock. Theres intellectual satisfaction in working out a plot involving disappearing children, whose counterpoint is Mahlers Kindertotenlieder. Theres darkness and light, fear and relief. And then theres the cross-grained pairing of Dalziel and Pascoe. Everything about this book is spot on.

Although Hills roots were firmly in the traditional English detective novel, he brought to it an ambivalence and ambiguity that allowed him to display the complexities of contemporary life. He created characters who changed and developed in response to their experiences. I urge you to read this with a glass of Andy Dalziels favourite Highland Park whisky.

Insidious Intent by Val McDermid is published by Sphere.

The Damned and the Destroyed by Kenneth Orvis Lee Child

My formative reading was before the internet, before fanzines, before also-boughts, so for me the best ever is inevitably influenced by the gloriously chanced-upon lucky finds, the greatest of which was a 60 cent Belmont US paperback, bought in an import record shop on a back street in Birmingham in 1969. It had a lurid purple cover, and an irresistible strapline: She was beautiful, young, blonde, and a junkie I had to help her! It turned out to be Canadian, set in Montreal. The hero was a solid stiff named Maxwell Dent. The villain was a dealer named The Back Man. The blonde had an older sister. Dents sidekicks were jazz pianists. The story was patient, suspenseful, educational and utterly superb. In many ways its the target I still aim at.

The Midnight Line by Lee Child is published by Bantam.

Bleak House by Charles Dickens Ian Rankin

Does this count as a crime novel? I think so. Dickens presents us with a mazey mystery, a shocking murder, a charismatic police detective, a slippery lawyer and a plethora of other memorable characters many of whom are suspects. The story has pace and humour, is bitingly satirical about the English legal process, and also touches on large moral and political themes. As in all great crime novels, the central mystery is a driver for a broad and deep investigation of society and culture. And theres a vibrant sense of place, too in this case, London, a city built on secret connections, a location Dickens knows right down to its dark, beating heart.

Rather Be the Devil by Ian Rankin is published by Orion. Siege Mentality by Chris Brookmyre is published by Little, Brown.

The Hollow by Agatha Christie Sophie Hannah

This is my current favourite, in its own way just as good as Murder on the Orient Express. As well as being a perfectly constructed mystery, its a gripping, acutely observed story about a group of people, their ambitions, loves and regrets. The characters are vividly alive, even the more minor ones, and the pace is expertly handled. The outdoor swimming pool scene in which Poirot discovers the murder is, I think, the most memorable discovery-of-the-body scene in all of crime fiction. Interestingly, Christie is said to have believed that the novel would have been better without Poirot. His presence here is handled differently he feels at one remove from the action for much of the time but it works brilliantly, since he is the stranger who must decipher the baffling goings on in the Angkatell family. The murderers reaction to being confronted by Poirot is pure genius. It would have been so easy to give that character, once exposed, the most obvious motivation, but the contents of this killers mind turn out to be much more interesting

Did You See Melody by Sophie Hannah is published by Hodder.

Rebecca by Daphne du Maurier SJ Watson

SJ Watsno

I first came to Rebecca, published in 1938, with one of the most recognisable first lines in literature, not knowing exactly what to expect. That it was a classic I was in no doubt, but a classic what? I suspected a drama, possibly a romance, a book heavy on character but light on plot and one Id read and then forget. How wrong I was.

It is a dark, brooding psychological thriller, hauntingly beautiful, literature yes, but with a killer plot. I loved everything about it. The way Du Maurier slowly twists the screw until we have no idea who to trust, the fact that the title character never appears and exists only as an absence at the heart of the book, the fact that the narrator herself is unnamed throughout. But, more importantly, this thriller is an exploration of power, of the men who have it and the women who dont, and the secrets told to preserve it.

Second Life by SJ Watson is published by Black Swan.

Mystic River by Dennis Lehane James Lee Burke

To my mind this is the best crime novel written in the English language. Lehane describes horrible events with poetic lines that somehow heal the injury that his subject matter involves, not unlike Shakespeare or the creators of the King James Old Testament. Thats not a hyper-bolic statement. His use of metaphysical imagery is obviously influenced by Gerard Manley Hopkins. Mystic River is one for the ages.

Robicheaux by James Lee Burke is published by Orion.

The Expendable Man by Dorothy B Hughes Sara Paretsky

Author Sara Paretsky for Arts. Photo by Linda Nylind. 15/7/2015.

Today, Hughes is remembered for In a Lonely Place (1947) Bogart starred in the 1950 film version. My personal favourite is The Expendable Man (1963). Hughes lived in New Mexico and her love of its bleak landscape comes through in carefully painted details. She knows how to use the land sparingly, so it creates mood. The narrative shifts from the sandscape to the doctor, who reluctantly picks up a teen hitchhiker. When shes found dead a day later, hes the chief suspect, and the secrets we know hes harbouring from the first page are slowly revealed.

Hughess novels crackle with menace. Like a Bauhaus devotee, she understood that in creating suspense, less is more. Insinuation, not graphic detail, gives her books an edge of true terror. Shes the master we all could learn from.

Fallout by Sara Paretsky is published by Hodder.

Killing Floor by Lee Child Dreda Say Mitchell

What is it about any particular novel that means youre so engrossed that you miss your bus stop or stay up way past your bedtime? A spare, concise style that doesnt waste a word. A striking lead character who manages to be both traditional and original. A plot thats put together like a Swiss watch. Childs debut has all these things, but like all great crime novels it has the x-factor.

In the case of Killing Floor that factor is a righteous anger, rooted in personal experience, that makes the book shake in your hands. Its the story of a military policeman who loses his job and gets kicked to the kerb. Jack Reacher becomes a Clint Eastwood-style loner who rides into town and makes it his business to dish out justice and protect the underdog, but without the usual props of cynicism or alcohol. We can all identify with that anger and with that thirst for justice. We dont see much of the latter in real life. At least in Killing Floor we do.

Blood Daughter by Dreda Say Mitchell is published by Hodder.

The Long Goodbye by Raymond Chandler Benjamin Black (John Banville)

The Long Goodbye is not the most polished, and certainly not the most convincingly plotted, of Chandlers novels, but it is the most heartfelt. This may seem an odd epithet to apply to one of the great practitioners of hard-boiled crime fiction. The fact is, Chandler was not hard-boiled at all, but a late romantic artist exquisitely attuned to the bittersweet melancholy of post-Depression America. His closest literary cousin is F Scott Fitzgerald.

Philip Marlowes love and surely it is nothing less than love for the disreputable Terry Lennox is the core of the book, the rhapsodic theme that transcends and redeems the creaky storyline and the somewhat cliched characterisation. And if Lennox is a variant of Jay Gatsby, and Marlowe a stand in for Nick Carraway, Fitzgeralds self-effacing but ever-present narrator, then Roger Wade, the drink-soaked churner-out of potboilers that he despises, is an all too recognisable portrait of Chandler himself, and a vengefully caricatured one at that. However, be assured that any pot The Long Goodbye might boil is fashioned from hammered bronze.

Prague Nights by Benjamin Black is published by Viking.

Love in Amsterdam by Nicolas Freeling Ann Cleeves

Although Nicolas Freeling wrote in English he was a European by choice an itinerant chef who roamed between postwar France, Belgium and Holland, and who instilled in me a passion for crime set in foreign places. He detested the rules of the traditional British detective novel: stories in which plot seemed to be paramount. Love in Amsterdam (1962) is Freelings first novel and it breaks those rules both in terms of structure and of theme.

It is a tale of sexual obsession and much of the book is a conversation between the suspect, Martin, whos been accused of killing his former lover, and the cop. Van der Valk, Freelings detective, is a rule-breaker too, curious and compassionate, and although we see his investigative skills in later books, here his interrogation is almost that of a psychologist, teasing the truth from Martin, forcing him to confront his destructive relationship with the victim.

The Seagullby Ann Cleeves is published by Pan.

Laidlaw by William McIlvanney Chris Brookmyre

I first read Laidlaw in 1990, shortly after moving to London, when I was aching for something with the flavour of home, and what a gamey, pungent flavour McIlvanneys novel served up. A sense of place is crucial to crime fiction, and Laidlaw brought Glasgow to life more viscerally than any book I had read before: the good and the bad, the language and the humour, the violence and the drinking.

Laidlaws turf is a male hierarchy ruled by unwritten codes of honour, a milieu of pubs and hard men rendered so convincingly by McIlvanneys taut prose. His face looked like an argument you couldnt win, he writes of one character, encapsulating not only the mans appearance but his entire biography in a mere nine words.

This book made me realise that pacey, streetwise thrillers didnt have to be American: we had mean streets enough of our own. It emboldened me to write about the places I knew and in my own accent.

Lolita by Vladimir Nabokov Laura Lippman

Im going to claim Lolita for crime fiction, something I never used to do. But it has kidnapping, murder and its important to use this term rape. It also has multiple allusions to Edgar Allan Poe and even hides an important clue well, not exactly in plain sight, but in the text of, yes, a purloined letter. And now we know, thanks to the dogged scholarship of Sarah Weinman, that it was based on a real case in the United States. (Weinmans book, The Real Lolita, will be published later this year.)

Dorothy Parker meant well when she said Lolita was a book about love, but, no its about the rape of a child by a solipsistic paedophile who rationalises his actions, another crime that is too often hidden in plain sight. Some think that calling Lolita a crime novel cheapens it, but I think it elevates the book, reminds us of the pedestrian ugliness that is always there, thrumming beneath the beautiful language.

Sunburn by Laura Lippman is published by Faber.

The Moving Target by Ross Macdonald Donna Leon

Ross Macdonald, an American who wrote in the 60s and 70s, has enchanted me since then with the beauty of his writing and the decency of his protagonist, Lew Archer. I envy him his prose: easy, elegant, at times poetically beautiful. I also admire the absence of violence in the novels, for he usually follows Aristotles admonition that gore be kept out of the view of the audience. When Archer discovers the various wicked things one person has done to another, he does not linger in describing it but makes it clear how his protagonist mourns not only the loss of human life but also the loss of humanity that leads to it.

Macdonalds plotting is elegant: often, as Archer searches for the motive for todays crime, he unearths a past injustice that has returned to haunt the present and provoke its violence. His sympathy for the victims is endless, as is his empathy for some of the killers.

The Temptation of Forgiveness by Donna Leon is published by William Heinemann.

The Moonstone by Wilkie Collins Nicci French

http://www.theguardian.com/us

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