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ALFARO & ANGELA

Author: Azkaa_Sabila
Realitas Magis
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What is ALFARO & ANGELA

Synopsis

Alfaro adalah seorang anak yang berjuang mendapatkan kasih sayang dari keluarga kandungnya Angela adalah seorang anak yang selalu disayangi oleh keluarganya, berbeda dengan Alfaro Selama ini yang menyayangi Faro hanya Dady, ketiga kembaranya, dan kakak sepupunya Lucky Faro seorang mafia, pemimpin gangster, CEO, aktor, King of racing, leader Black Moor Angel sama seperti Faro, mereka berdua kembar yang sangat mirip, bukan hanya itu mereka juga partner dalam hal apapun. Perbedaan antara Angel dan Faro adalah Faro dengan pipi chubby dan Angel pipi tirus Faro selama ini seorang anak yang polos, pintar dan berbakat, sama seperti Mommy nya. Tetapi dibalik itu ia mempunyai sikap seperti Oma nya jika diluar sana. Kejam, dingin, datar, dan Phisyco Angel itu adalah seorang Badgirl, dia dingin, kejam, datar, Queen Ice. Sikapnya sama seperti sang Dady Bagaimana kisah mereka? Yuk ikuti kisahnya Sudah Terbit 25 Februari- 24 Mei belum Revisi 07 Juni -

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1986

The most damning evidence against the film was promotional materials and even the opening credits of certain copies of Nosferatu that clearly stated that the film was an adaptation of Stoker’s novel. Unable to ignore such evidence, a German court found Nosferatu to be an unlicensed derivative work of Dracula and ordered that every copy of the film be destroyed. While this should have marked the end of the film’s legacy, one copy avoided destruction and resurfaced in the United States, where it was released in 1929. Under the U.S. copyright law of the time, in order for works by a foreign author to enjoy copyright protection in the United States, the author’s country of citizenship must have had a copyright proclamation or agreement with the United States. Stoker was a British citizen, and under the Chace Act, President Harrison had extended copyright to works by British citizens in 1891, thus making Stoker’s work eligible for United States copyright protection. However, United States copyright law also required two copies of the work be deposited with the U.S. Copyright Office. Stoker had never satisfied this deposit requirement, and therefore Dracula was part of the public domain in the United States. Stoker’s estate was thus unable to take any legal action against Nosferatu in the United States, and the film gained a second lease on life, developing into a definitive piece of vampire pop culture. These three tales highlight just a few of the interactions between copyright law and the horror genre. Such tales should serve as reminder to always double check copyright laws to avoid the scare of an unexpected law lurking in the shadows.

KuMayl_Abidi · Horror
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