I recently presented a talk on Torchwood (Why Torchwood Still Matters) where I highlighted a few ways in which the show (airing from 2006 to 2011) came up with progressive and innovative ideas that are being used by other franchises today.
I always enjoy attending the SD (San Diego) WhoCon because the audiences are so well-informed on the Whoniverse and Whovians love Captain Jack and the crew that made this spinoff program so engaging.
Transcript:
What they did in Torchwood they, of course, repeat when we come along to the Jodie Whittaker Doctor because they made you think we had a regular we didn’t have in the pilot. Right? That’s a trick that’s hard to get away with, but they made sure and wrote in a person who looked like they were part of the team and everything was happening and then they die in the pilot. And you’re like, whoa what happened?
They knew what they were doing. They knew they were killing the woman of color in that pilot, but they made sure she came back in Graham’s visions – right – he saw the visions of her and Ryan talks about her all the time. They even show The Doctor going to a funeral. How many people have died in the course of Doctor Who – I never once saw any of the Doctors go to a funeral. They respected her enough she stayed to go to her funeral. That’s how important that character is. So I think, I wouldn’t claim it as that but perhaps that is something they learned and they tried very hard not to do. Which I think is really interesting.
Ruth Goodman’s family had been involved in theatre even before her birth in 1908. Her father produced shows involving W. C. Fields and Jerome Kern. Those connections, and her education in New York and Paris, brought her jobs as a costume designer and story editor before marrying Augustus (Gus) Goetz on October 11, 1932, after having met onboard ship. Her mother disliked him, but Ruth described Augustus as enchantingly witty. Though a stockbroker when they met, he gave up finances and they began writing plays together, collaborating nearly exclusively throughout their career. Their most famous play, The Heiress, brought them to Hollywood.
In my role as the Secretary for the Executive Council of the SRN (Screenwriting Research Network) I was happy to be asked to act as host for the second SRN Conversation – a chance to talk with folks who have planned a couple of our earlier conferences around the world.
I spoke with organizers JJ Murphy of the Madison, Wisconsin 2013 conference and Kathryn Millard and Alex Munt of the Sydney 2012. The SRN Conversations allow us to create an archive of the history of the group and inform new members about all the opportunities gained from attending our conferences.
Host: So when we think about westerns in particular which seems like such a male-oriented genre – The cowboy is such a looming figure in that genre – how do we see them differently when we focus on the stories that women wrote or that are less often told?
Rosanne: Certainly the difference is that when we think of a female-focused story versus a male-focused story – and this is unfair to young boys and to men – we teach men in our literature – in our drama, in our movies – we teach them that the only way for them to succeed is to master a particular weapon – which, of course, in the west is a rifle, it’s the pistol, it’s the gun – and take on the bad guy all alone. We’re doing “High Noon” and it’s me and you, that’s it. If I die the whole world falls apart and that’s a lot of pressure to put on one character. Whereas female stories are generally centered in I have come to this new place with a bunch of other people. We are a community and we must all rise together. We must all help each other.
The Stephens College MFA in TV and Screenwriting is building a relationship with the Autry Museum of the American West since both organizations are devoted to bringing out more diverse and untold stories. Last year we were able to take our cohort of graduating MFA candidates to the museum’s theatre for a showing of Michael Wilson’s Salt of the Earth and we had plans to present a film of our choice this year – but of course the pandemic changed all that. Instead, Autry Curator Josh Garrett-Davis asked me if I would sit for an interview about female screenwriters in the western genre and so “When Women Wrote Westerns” came to be a part of their “What Is a Western? Interview Series”.
I had a great time discussing so many wonderful women writers – from Jeanne MacPherson to D.C. Fontana to Edna Ferber to Emily Andras. If you love westerns I suggest you watch Josh’s other interviews covering everything from the work of Native Americans in Western movies to films in the western-horror hybrid. —
What this entire presentation
As part of a series exploring the significance of the Western genre and the ways in which the movies shape our understanding of the American West, Autry Curator Josh Garrett-Davis interviews Professor Rosanne Welch about the women screenwriters of Hollywood and their contributions to the Western genre.
Host: Let’s hear a few of your other favorite movies in general but let’s do it from a screenwriter’s perspective. What other movies do you think have been the best written?
Rosanne: Well you have to credit this although it is both the author and the writer/director. “The Godfather.” In the movie – if it comes on tv I can’t wherever it is when I flip to that channel although no one flips anymore, but you know, I can’t – I have to keep watching. Everything about that movie to me is perfect. Now the novel is quite perfect but there’s much in the novel that didn’t make it into the film, which i miss, but you only know that if you know the book but it’s so tight and it’s so beautifully – the story of a family and one of the things that I teach my students is that drama is about making decisions and “The Godfather” is entirely about one man who made one decision. I’m not going to follow my father and life won’t let him do that. So then he doubles down and makes the other decision that if I’m going to then I’m going to be the most powerful one and I’m going to save his empire instead of leave it.
One of the benefits of attending conferences is that you can meet the editors from the companies that have published some of your books face to face. That happened at the recent SCMS conference where I met Intellect editor James Campbell and he invited me to be a guest on his InstagramLive show.
We even had time to nerd out on our own favorite classic films across the eras which brought up fun memories of Angels with Dirty Faces, Back to the Future, Bonnie and Clyde, and of course, all things Star Wars from the original 3 to The Mandalorian. It’s always so fun to talk to fellow cinephiles.
Speaking with Dr. Rosanne Welch, Author, teacher, and television screenwriter. Today we cover everything from women in screenwriting to our favorite Jimmy Cagney movies and Friends.
Nearly two years ago I had the pleasure of being invited to join a panel at the then upcoming SCMS (Society of Cinema and Media Studies) conference set for Seattle. As you know that was canceled due to Covid with the hopes of reconvening in Colorado in 2021. That became a virtual conference but our group decided to reapply our panel and we four were able to ‘meet’ on Zoom on Sunday and present: Writing Between the Lines: Feminist Strategies for Historical Absences, Cliché, and the Unreliable Narrator.
Here you can watch a clip from my part of the presentation,
“When Men Forget Women: The Many Ways Male Screenwriters Fail to Mention their Female Colleagues in Oral Histories”
Transcript:
To be fair, it does happen to male screenwriters sometimes. Nunally Johnson is the one who adapted ‘The Grapes of Wrath” and John Ford, who directed actually wrote in a book that he said, “You know people are credit this particular shot with my genius but you wrote it down in the scripts.” Right? And Nunally was like, ‘I don’t know who’s going get the attribution but I know I wrote it and that’s all that matters.” So, he didn’t particularly care but his name disappears so badly that obituary writers are terribly unreliable narrators. When Nunally Johnson’s wife died – she was the actress Dorris Bowden who played Rose O’Sharon in The Grapes of Wrath – they called it John Ford’s Grapes of Wrath and they said that she left acting after she married that film’s screenwriter. They took his name out of his wife’s obituary. Who’s more important in her death? Her husband or the guy who directed a movie she did fifty years ago? Clearly think about that and she herself was very proud of how John Steinbeck had talked about Nunally Johnson’s writing because he was so brilliant. So to erase him out of her obituary is ridiculous.
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