“Globo, Caught Plagiarizing, Will Appeal”

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Catfight: Amara and Débora armam um barraco in a recent episode of Duas Caras, according to a caption to the scene published with a fotonovela version of the soap on Globo.com. Armar um barraco means “to set up a tent” — Bernardo runs a beach barraco, a common small business on Brazilian beaches, where chairs and umbrellas are rented and snacks and drinks doled out — but it is also a common euphemism for causing a man to have an erection. An erection of his penis — demotic PT-Br pinto, vara — that is, in case you were not familiar with the technical terminology there.

Bebo para tornar as outras pessoas mais interessantes. –frequently attributed to Paulo Francis (Rede Globo, Brazil)

I drink to make other people interesting. — George Jean Nathan (1882–1958), U.S. critic. Quoted beneath his picture in Charlie O’s bar, New York City.

Ao acessar a página do GLOBO ONLINE o usuário declara que irá respeitar todos os direitos de propriedade intelectual e industrial, os decorrentes da proteção de marcas registradas da mesma, bem como todos os direitos referentes a terceiros que por ventura estejam, ou estiveram, de alguma forma disponíveis no Portal. O simples acesso ao Portal não confere ao usuário qualquer direito de uso dos nomes, títulos, palavras, frases, marcas, patentes, obras literárias, artísticas, lítero-musicais, dentre outras, que nele estejam, ou estiveram, disponíveis. –Terms of Use, O Globo Online

Laudo confirma plágio de Walcyr Carrasco em “Alma Gêmea”:

Expert report confirms plagiarism by Walcyr [“El Bachiller Sansón”] Carrasco in Globo soap opera [“Twin Soul”].

The Folha de S. Paulo reports.

Um laudo pericial da 5ª Vara Cível do Rio confirmou que “Alma Gêmea”, de Walcyr Carrasco, é plágio do livro “Rosácea”, de Shirley Costa. Além da história, personagens, detalhes e situações (como piano que toca sozinho no sótão e poção na bebida) da novela da Globo são idênticas ao do livro. “Tenho provas de que meu livro chegou às mãos do Walcyr. Uma fita gravada está em poder da Justiça”, diz Shirley.

An expert analysis by the Fifth Civil Bar of Rio de Janeiro confirmed that Carrasco’s “Twin Soul” is plagiarized from the book Rosácea by Shirley Costa. Besides the plot, the characters, details and situations (such as a piano that plays by itself in the attic and a potion slipped into the drink) in the Globo soap are identical to those in the book. “I have proof that my book came into Walcyr’s hands. A recorded tape has been provided to the Court,” said Shirley.

The program aired in 2005/2006. The gentleman is currently head writer on Seven Sins.

I have always maintained that if the estate of Evelyn “The Loved One” Waugh ever cared to, they could probably sue the pants off Globo over the classic soap O Bem-Amado.

In that case, however, the scriptwriter changed the pet cemetery in which Waugh’s work is set — a metaphor for the Hollywood dream factory — to a cemetery for naked human apes.

Recorreu

Appeal

A Globo afirma que o laudo é inconclusivo e que solicitou ao juiz outro perito, especialista na área de texto.

Globo states that the report is inconclusive and that it has asked the judge to appoint another expert, specializing in the area of textual interpretation.

Preferably a Maoist or some other sort of gabbling postmodern neo-Hegelian.

That, of course, is a gratuitious remark that prejudges the guilt of the defendant in the case. I apologize. I do not actually know enough yet to make that judgment.

But I would like to read that expert report, with the two texts in question simultaneously in hand. Is it on the public record?

Shirley is not, I think, a well-known author. (You have to be freaking Paulo Coelho, or dead, to get fiction published in Brazil, is the frequent complaint. Including my wife’s, who has published a book of short stories and won several modest but satisfying literary prizes.)

In a related item, an update on the indicative rating for Globo’s other current soap, DUAS CARAS — on which see also

Justiça reclassifica horário da novela “Duas Caras”

Justice Ministry reclassifies “Two Faces (Guys)” for another time-slot.

Não adiantou nada o autor de “Duas Caras” explodir a uisqueria, local da dança do poste. Mesmo assim o Ministério da Justiça resolveu alterar a classificação da novela de 12 anos (inadequada para exibição antes das 20h) para 14 (antes das 21h). Isso aconteceu devido às reclamações de cenas eróticas, principalmente, e de violência. O Ministério da Justiça diz que a Globo pode pedir a reconsideração da reclassificação. A emissora afirma que não foi notificada e que a mudança do horário não atrapalhará. “Duas Caras” entra no ar às 20h55 (cinco minutos antes do horário permitido). Em Estados do Norte e Nordeste, onde não há horário de verão, a novela terá de entrar só às 21h, segundo o Ministério.

Blowing up the whiskey bar (strip club), sceneof the pole dance, did the author of DUAS CARAS no good. Even so the Ministry of Justice resolved to alter the program’s ratings from [something like] PG-12 (cannot be shown before 8:00 pm) to PG-14 (before 9:00 pm). The Ministry of Justice said Globo can request it to reconsider the reclassification. The broadcaster also sas it was not notified, and that the change in time-slot will inconvenience it. “Two Faces (Guys)” comes on at 8:55 pm (five minutes before the time slot permitted). In the North and Northeast, where daylight savings time is not observed, it will have to come on after 9:00 pm, according to the Ministry.

I always find it it bizarre, that Brazlian TV programs come on at odd hours — 9:13, 8:55, 8:47, what have you.

When I worked at the college radio station, the FCC was absolutely grim and humorless about your broadcasting the requisite station ID on the top of the hour, on the dot, with military punctuality. Or else.

On “blowing up the titty bar,” see

These people play stupid games.

Also astonishing, I thought, was the omission of any mention of the primary dramatic incident in that — Débora shows the hooting mob her tits! — from the published synopsis of the episode.

For example, the synopsis of the scene in question, skipping intervening scenes.

Débora e Bernardo comemoram o faturamento. … Amara se irrita com o olhar de Bernardo, mas João Batista impede que ela faça confusão. … Amara arma um escândalo e faz uma guerra de areia com Débora.

Débora and Bernardo celebrate good business results.

Débora has promised Bernardo’s customers that she will expose her tits if they buy all his beer.

Amara is irriated by Bernardo’s ogling, but her son prevents her from making a scene.

Amara is Bernardo’s comically jealously, fat little scold of a wife. Débora, for some reason, is sleeping on Bernardo’s couch, making Amara comically jealous and her son comically horny.

Amara makes a scandal and enters in a “war on the sand” with Débora.

The synopsis omits to mention the fact that Débora shows her tits to the entire beach, which triggers the “scandal.”

The synopsis omits to mention the fact that Amara also shows her tits to the entire beach.

The synopsis also omits to mention a scene in which the son accompanies Débora to a beach shower at a nearby condominium, where he hoses her thoroughly.

Hoses her down thoroughly, I meant to say.

An honest typographical error.

Thoroughly. Slowly. Lovingly.

The men of the condominium come out onto their balconies to watch the bikini-clad young woman being hosed.

Down.

Globo misrepresents the content of its own programming.

It has done so before, too. See

The verbatim transcript of a news report aired on the Jornal Nacional, published to the Web, when compared to the actual episode that airs, attributes words to persons interviewed in the report that those persons are not depicted as saying in the segment broadcast.

That is, the transcript puts words into their mouths that are different that the words you hear them saying in the video segment.

Globo lies, cheats and, allegedly now, plagiarizes.

Carrasco has a fairly common sort of Globo infotainment career trajectory: He started out as a journalist for (unnamed) “flagship press vehicles” before transferring to the entertainment division.

Neuza, surveyed on the subject as a standard-issue Brazilian with whom I happen to be sleeping (all nice and legal) has a pretty favorable, though vague, impression of his literary credentials, although we do not own any of his books.

He is perhaps best known for Xica da Silva, on Rede Manchete, about “the slave who became a queen in the middle of the 18th century.” It aired in 1997.

Antunes Filho — we recently saw his (delirious) adapation of Ariano Suassuna’s A Pedra do Reino for the Teatro Macunaíma — directed a theatrical version of the story in 1988, titled Xica da Silva.

Jorge Ben Jor had a hit song by that title in 1976, the same year the film Xica da Silva was released, directed by Carlos Diegues and starring José Wilker.

An official bio:

Walcyr Carrasco nasceu em Bernardino de Campos, interior paulista, em 1951. Começou sua carreira como jornalista, tendo trabalhado para os principais veículos da imprensa brasileira. A vida de autor começou no teatro, com peças de muito sucesso como Batom (que lançou Ana Paula Arósio como atriz), e Êxtase. Walcyr também é autor de vários livros infanto-juvenis, alguns, como Vida de Droga e O Anjo Linguarudo, adotados como leitura complementar em escolas de todo o país.

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Na TV, o autor escreveu, em 1991, as minisséries O Guarani e Filhos do Sol, para a Manchete, antes de estourar em 1997 com um dos maiores mistérios da novela Xica da Silva. Seu nome ficou oculto por vários meses por trás do pseudônimo Adamo Angel, gerando especulações na imprensa. A novela projetou seu nome no mercado de teledramaturgia. No ano seguinte, foi arrebatado pelo SBT, onde escreveu Fascinação. E em 2000, na Globo, escreveu com grande sucesso o remake da novela O Machão (de Sérgio Jockyman): O Cravo e a Rosa repetindo a dobradinha de sucesso que formou com o diretor Wálter Avancini em Xica da Silva.

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