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GEER April 26 Welcome Social Notes Leisure Recommendation: Book Recommendations (continued) View Meteor Showers or take Airboat Rides in the Killing Mister Watson by Peter Mathias (one of a three- Everglades book series) https://www.lovetheeverglades.org/blog Skinny Dip by Carl Hiaasen Email Rev. Houston R. Cypress, Otter Clan with The Orchid Thief: A True Story of Beauty and Obsession by Love The Everglades Movement Susan Orlean Email: [email protected] The Swamp: The Everglades, Florida, and the Politics of Paradise by Michael Grunwald Article Recommendation: Books by Craig Pitman www.Nature.com | Editorial • Cat Tale Collaborations with artists go beyond communicating • Oh, Florida! the science • The Scent of Scandal Scientists and artists are working together as never • Paving Paradise before, finds a Nature poll. Both sides need to invest • Manatee Insanity time and embrace surprise and challenge. https://www.nature.com/articles/d41586-021-00469- Movie Recommendation: 2?WT.ec_id=NATURE- 20210225&utm_source=nature_etoc&utm_medium=emai They made a movie titled ADAPTATION about the Orchid l&utm_campaign=20210225&sap-outbound- Thief. id=FEB6082A45CDF697F7CC66FD4117B2D820222F24&fbc Director: Spike Jonze lid=IwAR0hasifawc1sUmX6pU8pOMZkdtf427DVZmlVlfjxjO Writers: Susan Orlean (book), Charlie Kaufman FKdfo9saOiAyWEh8 (screenplay) Stars: Nicolas Cage, Meryl Streep, Chris Cooper | See full cast & crew » Music Video Recommendation Agape Featuring Nadia Harris - Row (Official Music Art Recommendations Video) Part 3 of Trilogy. Winner at ImagiNative https://www.youtube.com/watch?v=C4XNk0SrFa4 The Florida Highwaymen Artists in Residence in Everglades (ARIE) Book Recommendations A Land Remembered by Patrick D. Smith A Snake in the Grass by Larry Perez Buffalo Tiger: A Life in the Everglades by Buffalo Tiger Charlotte’s Story: A Florida Keys Diary 1934 & 1935 by Charlotte Arpin Niedhauk Finding Florida by T.D. Allman Killer Cane by Robert Mykle .

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Transformative Screenwriting: Charlie Kaufman’S Postmodern Adaptation of Story
Lund University Johan Peter Sundberg Centre for Languages and Literature 801212-0518 Film Studies Master's Thesis: LIV704 Tutors: Lars Gustaf Andersson & Erik Hedling Seminar Date: 2015-01-15 Title Page Transformative Screenwriting: Charlie Kaufman’s Postmodern Adaptation of Story Nothing is random. Nothing that happens to him has no point. Nothing that he says happens to him in his life does not get turned into something that is useful to him. Things that appear to have been pointlessly destructive and poisoning, things that look at the time to have been wasteful and appalling and spoiling, are the things that turn out to be, say, the writing of Portnoy's Complaint. As each person comes into his life, you begin to think, "So what is this person's usefulness going to be? What is this person going to provide him in the way of the book?" Well, maybe this is the difference between the writer's life and an ordinary life.1 – Philip Roth, The Facts Table of Contents Title Page ........................................................................................................................................... 1 Table of Contents ............................................................................................................................ 2 Part 1: Introduction ............................................................................................................. 3 Cast, Acronyms and Abbreviations ........................................................................................... 6 Method and Purpose .....................................................................................................................
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Projection and Control in the Works of Charlie Kaufman
In this careful study of the works of Charlie Kaufman, Larson sets up the problem of the mind's relationship to reality, then explores it through a series of related concepts—how we project ourselves into reality, how we try to control it, and how this limits our ability to connect to others. (Instructor: Victoria Olsen) PLAYING WITH PEOPLE: PROJECTION AND CONTROL IN THE WORKS OF CHARLIE KAUFMAN Audrey Larson ohn Malkovich is falling down a dark, grimy tunnel. With a crash, he finds himself in a restaurant, the camera panning up from a plate set with a perfectly starched napkin to a pair of large Jbreasts in a red dress and a delicate wrist hanging in the air like a question mark. The camera continues panning up to the face that belongs to this body, the face of—John Malkovich. Large-breasted Malkovich looks sensually at the camera and whispers, “Malkovich, Malkovich,” in a sing-song whisper. A waiter pops in, also with the face of Malkovich, and asks, “Malkovich? Malkovich, Malkovich?” The real Malkovich looks down at the menu—every item is “Malkovich.” He opens his mouth, but only “Malkovich,” comes out. A look of horror dawns on his face as the camera jerks around the restaurant, focusing on different groups of people, all with Malkovich’s face. He gets up and starts to run, but stops in his tracks at the sight of a jazz singer with his face, lounging across a piano and tossing a high-heeled leg up in the air. A whimper escapes the real Malkovich.
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Special 75Th Anniversary Issue
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Intern Journal: Susan Orlean Listening to Susan Orlean, Author of Books Like the Orchid Thief and Rin Tin Tin Speak Is a Lot
Intern Journal: Susan Orlean By Kate Stefanski Listening to Susan Orlean, author of books like The Orchid Thief and Rin Tin Tin speak is a lot like reading one of her incredibly engaging profiles on the life of a seemingly uninteresting 10 year old. But that’s what makes her such a prolific storyteller. When asked a question as predictable as “What is it like to have Meryl Streep play you,” Orlean answers by launching her audience into the world of Hollywood, pinpricked by a famous author leveling with a room full of admirers and hopefuls. Where we may have been nervous, borderline uncomfortable to talk about Adaptation, Susan simply laughed good-naturedly and clarified that she was far more worried about the idea of sleeping with her subject than she was about the potential of her snorting imagined drugs derived from the ghost orchid. If you’re a fan of her books, especially The Bullfighter Checks Her Makeup, you feel honored to listen to her talk about anything. Because any question she answers turns into another profile, another story about her own life and how she got to be who and where she is now. On Wednesday night, we had a reception and watched Adaption, the movie inspired by The Orchid Thief, at the Enzian Theater. Afterwards, we had an informal question and answer session, and Susan answered questions from the audience about her movie, the books she has written, and what it’s like to be a renowned author across the board. Thursday night, Susan was kind enough to give a workshop class where she discussed leads, and the best ways to get your readers involved in the first few lines of your story.
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UNIVERSITY of CALIFORNIA, IRVINE Allegories of Industry And
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Book Club Discussion Guide the Library Book by Susan Orlean
Book Club Discussion Guide The Library Book By Susan Orlean Author: Susan Orlean has been a staff writer at The New Yorker since 1992. She is the author of seven books, including Rin Tin Tin, Saturday Night, and The Orchid Thief, which was made into the Academy Award– winning film Adaptation. She lives with her family and her animals in upstate New York and may be reached at SusanOrlean.com and Twitter.com/SusanOrlean. Summary: On the morning of April 29, 1986, a fire alarm sounded in the Los Angeles Public Library. As the moments passed, the patrons and staff who had been cleared out of the building realized this was not the usual fire alarm. As one fireman recounted, “Once that first stack got going, it was ‘Goodbye, Charlie.’” The fire was disastrous: it reached 2000 degrees and burned for more than seven hours. By the time it was extinguished, it had consumed four hundred thousand books and damaged seven hundred thousand more. Investigators descended on the scene, but more than thirty years later, the mystery remains: Did someone purposefully set fire to the library—and if so, who? Weaving her lifelong love of books and reading into an investigation of the fire, award-winning New Yorker reporter and New York Times bestselling author Susan Orlean delivers a mesmerizing and uniquely compelling book that manages to tell the broader story of libraries and librarians in a way that has never been done before. (From Simon and Schuster website) Discussion Questions: 1. What has your relationship with libraries been throughout your life? Can you share some library memories from childhood to adulthood? 2.
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Library-Book/Susan-Orlean/9781476740195 to Enhance Your Discussion of the Book
Book Club in a Bag The Library Book by Susan Orlean 1. What has your relationship with libraries been throughout your life? Can you share some library memories from childhood to adulthood? 2. How would you describe the fire’s impact on the community? How about the community’s rebuilding efforts? 3. In chapter 5, Orlean writes that books “take on a kind of human vitality.” What role do books play in your life and home, and do you anthropomorphize them? Have you ever wrestled with the idea of giving books away or otherwise disowning them? 4. What is your impression of John Szabo? How does his career inform and shape your understanding of what librarians do? 5. Libraries today are more than just a building filled with books. How has your local branch evolved? Are you able to chart these changes and gauge their success within the community? 6. The Library Book confronts the issue of people experiencing homelessness patronizing the library. How do you feel about the L.A. library’s involvement, handling of the issue and the notion of inclusion? 7. Andrew Carnegie is perhaps the most famous supporter and benefactor of libraries. Can you name a modern equivalent who is using his or her largesse to underwrite public works? Is it important for the public sector to have big benefactors or overall community support? 8. The Library Book chronicles the history of the Los Angeles Public Library from its origins to the present day. How were the library’s ups and downs reflective of the city’s ups and downs? Are libraries a fair barometer to judge the mood of a city or town? 9.
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Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies E-ISSN: 2175-8026 [email protected] Universidade Federal de Santa Catarina Brasil Flores Nogueira Diniz, Thaïs IS ADAPTATION. TRULY AN ADAPTATION? Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies, núm. 51, julio-diciembre, 2006, pp. 217-233 Universidade Federal de Santa Catarina Florianópolis, Brasil Available in: http://www.redalyc.org/articulo.oa?id=478348689012 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Is Adaptation. truly an adaptation? 217 IS ADAPTATION. TRULY AN ADAPTATION? 1 Thaïs Flores Nogueira Diniz Universidade Federal de Minas Gerais Abstract The article begins by historicizing film adaptation from the arrival of cinema, pointing out the many theoretical approaches under which the process has been seen: from the concept of “the same story told in a different medium” to a comprehensible definition such as “the process through which works can be transformed, forming an intersection of textual surfaces, quotations, conflations and inversions of other texts”. To illustrate this new concept, the article discusses Spike Jonze’s film Adaptation., according to James Naremore’s proposal which considers the study of adaptation as part of a general theory of repetition, joined with the study of recycling, remaking, and every form of retelling. The film deals with the attempt by the scriptwriter Charles Kaufman, cast by Nicholas Cage, to adapt/translate a non-fictional book to the cinema, but ends up with a kind of film which is by no means what it intended to be: a film of action in the model of Hollywood productions.
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'Change Is Not a Choice'
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