Dr. Rosanne Welch – Page 129 – On Screenwriting and Media with Dr. Rosanne Welch

17 “A Wrinkle In Time” and The Movies from The Sisterhood of Science Fiction – Dr. Rosanne Welch [Video] (28 seconds)

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The Sisterhood of Science Fiction: A Walk Through Some Writers and Characters You (Should) Know And Love

This one allowed me to riff on some of my favorite female science fiction writers across time, whether they be novelists or television writers. It also opened up a good conversation on what art we support and include in our lives – and what that art says to us and about us. — Rosanne

Transcript:

…On a book that for years and years Hollywood wasn’t making into a movie because it starred a little girl and they really didn’t think enough people would pay money to see the story of a little girl having this wild crazy adventure. Even though Alice in Wonderland has been around a long time okay. So it’s interesting. We really we sort of censor before we even put things out into the audience for them to really tell us what they’re gonna watch right? So we have to think about that.

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On The Beach at Foz at Sunset, Porto, Portugal via Instagram

On The Beach at Foz at Sunset, Porto, Portugal

Never miss a moment to walk the beach, even if you are at the reception for an academic conference. 😀

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Reading as time travel via Instagram

Reading as time travel

From @douglaswelch …

Rosanne grabbed this book “The Secrets We Kept” at The Book Soup store at the Bradley International Terminal before we took off on our trip to Porto. She finished it on the trip home.

Look for a review of “The Secrets We Kept” soon from Rosanne.

I think Rosanne uses books as a sort of time travel. She dives into the book and wakes up wherever she needs to be. This is very useful when flying 9.5 hours East and 12 hours west.

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Stephens College MFA in TV and Screenwriting Alums REPRESENT at the Austin Film Festival 2019!

Congrats to our alums whose scripts have advanced at the 2019 AFF Script Competition including:

Adam Parker for THE BABY (Semifinalist) and THE EMERALD CITY (Second Round)
CJ Ehrlich for THE MALTESE BABKA (Second Round)
Cara Greene Epstein for THE FROZEN CHOSEN (Second Round)
Ilona Rossman Ho for INDIVISIBLE MOM (Second Round)
Jennifer Martin for THE GOLDBERGS: FEAR STREET (Second Round).

We are so proud!!

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19 Gene Gauntier from “When Women Wrote Hollywood” with Dr. Rosanne Welch [Video] (32 seconds)

Part of the California State University, Fullerton Faculty Noon Time Talks at the Pollak Library.

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Transcript:

Gene Gauntier is from Ireland. She was born in Kansas. She ended up being the first person to film a movie on location and it was “From The Manger to the Cross” which was the story of The Christ. It was the first time that the story of Jesus was told on film and she went to Jerusalem and then she filmed some in other places in Europe. So she was pretty famous for a good long time. A company called the Kalum company. Again when that company went out of business and all their paperwork disappeared, a lot of her history disappeared with it but you can find “From The Manger to the Cross” on YouTube

Dr. Rosanne Welch discusses the women in her new book “When Women Wrote Hollywood” which covers female screenwriters from the Silents through the early 1940s when women wrote over 50% of films and Frances Marion was the highest paid screenwriter (male or female) and the first to win 2 Oscars. Yet, she fails to appear in film history books, which continue to regurgitate the myth that male directors did it all – even though it’s been proven that the only profitable movies Cecil B. de Mille ever directed were all written by Jeannie Macpherson film ever won for Best Picture was written by Robert E. Sherwood (who people have heard of, mostly due to his connection to Dorothy Parker) and Joan Harrison.

Buy a signed copy of when Women Wrote Hollywood

Paperback Edition | Kindle Edition | Google Play Edition

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Journal of Screenwriting Call For Submissions For A Special Issue Focusing On Female Screenwriters

Don’t forget: The Journal of Screenwriting is calling for articles for a special issue with a focus on female screenwriters, to be published in November 2020. I will be co-editing this Special Issue! — Rosanne

Call For Submissions

Special Issue: Female Screenwriters

Download Call for Papers: Female Screenwriters (PDF) | Download Note for Contributors (PDF)

The Journal of Screenwriting is calling for articles for a special issue with a focus on female screenwriters, to be published in November 2020.

JOSC wants to emphasize the importance of female screenwriters across eras, genres, mediums. This importance may arise from an analysis of bodies of work, from individual scripts written by women or from case studies where female screenwriters have worked collaboratively to express screen stories. Articles may also include women’s work behind the scenes in advocating for/promoting greater gender equality within screenwriting milieux. Articles on female screenwriters from diverse cultural backgrounds are encouraged.

Articles may include (but are not limited to) the following topics:

Female screenwriters in silent cinema
The influence of female writer(-directors) in contemporary culture
Case studies on an individual screenwriter’s work, collaborations between women or on how women-centred stories have been brought to the screen
Historiography of manuals and screenwriting pedagogy where this reflects the work of female screenwriters
National and global tendencies with regard to women within screenwriting – relations, influences, cultural transfers
Censorship and women’s stories and women’s writings
Biographies of female screenwriters of any era
Female screenwriters within writing partnerships
The work of female screenwriters within script production (e.g. as showrunners, script editors or consultants)
• The question of a female voice within screenwriting
In the first instance, please email abstracts of up to 400 words and a short biography, no later than Friday, 4 October 2019 to both of the editors of this special issue: Rosanne Welch: rosanne@welchwrite.com Rose Ferrell: rosieglow@westnet.com.au Completed articles of between 4000 and 8000 words should be sent by the end of January 2020.

Link to the Journal of Screenwriting and Submission Information

Ready to present my talk yesterday at the Screenwriting Research Conference here in Porto, Portugal via Instagram

Ready to present my talk yesterday at the Screenwriting Research Conference here in Porto, Portugal

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Dinner at Portarosso last night! Yum! Via Instagram

Dinner at Portarosso last night! Yum!

Might even go back tonight!

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Screenwriting Research Network Conference 2019, Porto, Portugal, All Sessions

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Here’s a look at the program for the Screenwriting Research Network (SRN) conference that just concluded last Saturday in Porto, Portugal.

I deeply enjoyed making my presentation on Writers Rooms in the U.S. but even more I enjoyed the presentations I attended.

This program is chock a block full of new international films to learn about (did you know there’s a Portuguese film with the name “Django” in it that has nothing to do with the one by Tarantino?) and new ways to teach writing students how to take in all the (often negative) notes they receive and decide which constructive ones to use to make their scripts stronger?

Just skimming the schedule shows the breadth of new ideas that are running around in my head right now. — Rosanne

12th SCREENWRITING RESEARCH NETWORK CONFERENCE
Porto, September 11-14, 2019 · School of Arts, Universidade Católica Portuguesa

PROGRAMME

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Theme: Foundation and Crisis of Europe in Screenwriting

Chair: Paolo Russo

Pablo Echart
Savage continent, united continent: the writing of a feature film screenplay about the “founding fathers” of the European Union

María Noguera / Miguel Muñoz-Garnica
Narrative detours in the cinematic representation of Europe in crisis: Ulysses’ Gaze, A Talking Picture and Our Music

Daniel Sierra / Marta Frago
Young Winston and Darkest Hour’s films: Winston Churchill as British Hero in a Changing Europe

Theme: Modes I

Chair: Nelson Zagalo

Ruth Gutiérrez Delgado
Causality is not casual in a film despite it seems to be: A Perfect Day

Paolo Braga
The line between fate and chaos in Collateral

Armando Fumagalli
Order and chaos in the ending of a film

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Doorway, Foz, Porto, Portugal via Instagram

Doorway, Foz, Porto, Portugal

Spotted just outside our suite.

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