When Women Wrote Hollywood – 14 in a series – Eve Unsell

To highlight the wonderful yet largely forgotten work of a collection of female screenwriters from the early years of Hollywood (and as a companion to the book, When Women Wrote Hollywood) we will be posting quick bits about the many films they wrote along with links to further information and clips from their works which are still accessible online. Take a few moments once or twice a week to become familiar with their names and their stories. I think you’ll be surprised at how much bold material these writers tackled at the birth of this new medium. — Rosanne Welch


When Women Wrote Hollywood – 14 in a series – Eve Unsell

When Women Wrote Hollywood - 14 in a series - Eve Unsell

Eve Unsell (December 6, 1879[1] – July 6, 1937) was an American screenwriter. She wrote for 96 films between 1914 and 1933.[2] She was born in Chicago, Illinois, and died in Hollywood, California. Eve was an American scenarist who was known to also use the pseudonym Oliver W. Geoffreys as well as E.M. Unsell. Eve was married to a man named Lester Blankfield, but the year is disputed. Records list their marriage year as 1911, but it does not match up with other documentation. Eve Unsell was a professional in her career as a scenarist, overcoming many challenges along the way. Eve wrote for over 96 films in her lifetime, and edited over ten. Some of her most famous screen writes turned into productions include Shadows (1922), The Ancient Mariner (1925), The Plastic Age (1925), and The Spirit of Youth (1929). Although she was most famous for her work in scenario writing she can also be given credit as an adapter, company director, editor, play reader, screenwriter, theatre actress, and writer. She helped in the writing of many novels as long as editing many different pieces from literature to theatrical writing. Wikipedia 

More about Eve Unsell


Buy a signed copy of when Women Write Hollywood

 

* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!
† Available from the LA Public Library

My Next WGA Foundation Panel Discussion: It’s a Funny Story: A Conversation with Women TV Comedy Writers, August 10, 2018

I am very excited to be moderating another panel at the Writers Guild Foundation on…

My Next WGA Foundation Panel Discussion: It's a Funny Story: A Conversation with Women TV Comedy Writers, August 10, 2018

“It’s a Funny Story: A Conversation with Women TV Comedy Writers” on Friday, August 10, 2018

with these fascinating female writer-creator-artists:

This is going to be FUN!  Hope you can join us!

Get Tickets

From the Writers Guild Foundation

“We could all use a good laugh. Fortunately, we can all unwind with an abundance of outstanding television comedy shows that are available at the click of a button. But comedy isn’t just for the jokes anymore: an increasing number of shows tackle universal problems and surprisingly navigate us through our challenging world. And as writers rooms continue investing in diverse talent, the voices you hear from your television take on fresh perspectives. 

Join The Writers Guild Foundation in partnership with Stephens College MFA in TV and Screenwriting for a discussion surrounding how women television comedy writers got their start, how they use their experiences to inform their work, and the challenges they face in the writers room.”

Speaking at American Association for Advancement of Science (AAAS) Pacific Regional Conference – “From Atoms to Applications”

Speaking at American Association for Advancement of Science (AAAS) Pacific Regional Conference - “From Atoms to Applications

Speaking at American Association for Advancement of Science (AAAS) Pacific Regional Conference – “From Atoms to Applications”

My talk was Pedagogy of the Flipped Classroom

Watch the Entire Presentation

Instagram and Follow


Join the Rosanne Welch Mailing List for future book and event announcements!
 

More on Mazzei: Clips from the stage play, Zealous Whig by Paul Manganello (2011)

Mazzei cover small 2This series will focus on material I found while researching my book, America’s Forgotten Founding Father: A Novel Based on the Life of Filippo Mazzei.

While I only used a portion of my total research, there are a host of little tidbits of information on this amazing man which I wanted to share here. — Rosanne.


I came across his video was I was first doing my research for the book. It only makes sense that someone found Filippo as interesting as I had. Take a look! — Rosanne

More on Mazzei: Ciips from the stage play, Zealous Whig by Paul Manganello (2011)

More on Mazzei: Ciips from the stage play, Zealous Whig by Paul Manganello (2011)

From the floor of Congress, Mazzei discusses fraternity, the pursuit of happiness, and the year 2011.

From “Zealous Whig”
Written and performed by Paul Manganello
Sound design, lighting design, videography and graphic design: Colin Fulton
Original music: Marc LeMay
Dramatic consultant: Neal Kelley

“Zealous Whig” unearths the true story of America’s Italian founding father. Filippo Mazzei came to America in 1773 after meeting Benjamin Franklin in London. He became a close friend, collaborator, and next-door neighbor to Thomas Jefferson, and contributed to the Declaration of Independence. Mazzei returned to Europe in 1783 expecting a US consular post, but was disappointed. He died in obscurity in Pisa in 1816.


Join the Rosanne Welch Mailing List for future book and event announcements!
 

Order an autographed copy of America’s Forgotten Founding Father

Print Edition | Kindle Edition | Apple iBooks Edition | Nook Edition

Want to use this book in your classroom? Contact the Mentoris Project!

Thrills, Tears and the Real Gone Girls of Cinema via The New York Times

Bamm nyt

This is a great article supporting everything I have been trying to teach in my female-centric MFA History of Screenwriting course, including the idea that these female screenwriters and directors of Early Hollywood were left out of the history books as most of those were written by male historians.

I attempt to correct this in every class and with every research paper I assign – and with our new book of essays When Women Wrote Hollywood:  Essays on Female Screenwriters in the Early Film Industry. The article even opens with a quote by Ida May Park taken from the Careers for Women book which essayist Jackie Perez quotes in her full piece on Ida May in our book.

The article concerns “Pioneers: First Women Filmmakers,” a wonderful series that opens Friday in New York City at BAM (Brooklyn Academy of Music) which is being presented with Kino Lorber and the Library of Congress.

“There are tear-splashed melodramas like Alice Guy Blaché’s “The Ocean Waif” (1916), but also slapstick comedies like Mabel Normand’s “Caught in a Cabaret,” starring Charlie Chaplin (1914), and Lois Weber and Phillips Smalley’s thriller “Suspense” (1913). The stories take on love and war as well as poverty (Ida May Park’s 1918 “Bread”); birth control (Weber’s 1916 “Where Are My Children?”); and prostitution (Dorothy Davenport and Walter Lang’s 1925 “The Red Kimona”). One must-see is Marion E. Wong’s “Curse of Quon Gwon: When the Far East Mingles With the West” (1916), thought to be the first feature by a Chinese-American filmmaker. (A chunk is missing but it’s still worth watching.)”

Even if you don’t live in New York to attend the series, you can read all about it – and these marvelous women and their movie-making careers – here:

Thrills, Tears and the Real Gone Girls of Cinema via The New York Times

In the Wild West days of early filmmaking—before Hollywood hardened into an assembly-line behemoth and boys’ club—talented women worked regularly as writers, producers, and directors, instrumental in shaping the very language of cinema as we know it. Nevertheless, figures like Alice Guy Blaché and Lois Weber are known today primarily by aficionados, and artists like Nell Shipman, Grace Cunard, and Marion E. Wong remain woefully obscure. Bringing together dozens of essential new restorations, this series spotlights the daring, innovative, and trailblazing work of the first female filmmakers and restores their centrality to the creation of cinema itself.

Read the entire article – Thrills, Tears and the Real Gone Girls of Cinema via The New York Times

And then order our book here…

 

Buy a signed copy of when Women Write Hollywood

From The Research Vault: Hey, hey we’re the Wrinklies (The Monkees are back 45 years on… with a £1m motive) via Daily Mail

From The Research Vault: Hey, hey we’re the Wrinklies (The Monkees are back 45 years on… with a £1m motive) via Daily Mail

From The Research Vault: Hey, hey we're the Wrinklies (The Monkees are back 45 years on... with a £1m motive) via Daily Mail

Given their advancing years, you’d be forgiven for doubting whether there’ll be much monkeying around.

Yesterday The Monkees announced they would be reforming for a 45th anniversary tour of the UK.

The band, who broke up in 1971, were put together by music executives in 1966 to star in a TV comedy and to be the U.S. answer to The Beatles.

Why The Monkees Matter: Teenagers, Television and American Pop Culture

Buy Your Copy Now!

* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!
† Available from the LA Public Library

When Women Wrote Hollywood – 13 in a series – The Lying Truth & The Lost World, Wr: Marion Fairfax

To highlight the wonderful yet largely forgotten work of a collection of female screenwriters from the early years of Hollywood (and as a companion to the book, When Women Wrote Hollywood) we will be posting quick bits about the many films they wrote along with links to further information and clips from their works which are still accessible online. Take a few moments once or twice a week to become familiar with their names and their stories. I think you’ll be surprised at how much bold material these writers tackled at the birth of this new medium. — Rosanne Welch


When Women Wrote Hollywood – 13 in a series – The Lying Truth & The Lost World, Wr: Marion Fairfax

When Women Wrote Hollywood - 13 in a series - The Lying Truth & The Lost World, Wr: Marion Fairfax

Marion Fairfax (October 24, 1875 – October 2, 1970) was an American screenwriter and playwright. Born as Marion Neiswanger in Richmond, Virginia, After she graduated from Chicago’s South Division High School, she enrolled in Emerson College in Boston, Massachusetts. She was married to actor Tully Marshallfor forty-three years. Fairfax worked as a company director, director, editor, editorial director, playwright, producer, screenwriter and theatre actress.

Fairfax first started her career as a stage actress, just like many other women did in that era. By 1901 she was appearing on Broadway and soon after that her own plays started appearing on Broadway. Before she went into pictures she was known for being one of the most distinguished stage authors in the United States, writing Broadway hits such as The Builders (1907), The Chaperon (1908), The Talker (1912), A Modern Girl (1914), In 1915 The Lasky Feature Play Company entered into a contract with Fairfax. This opportunity gave Fairfax the chance to work under William C. DeMille who is known as the author for many successful plays such as “The Warrens of Virginia” and “The Woman.” The success of Fairfax comes through wide knowledge of dramatic values, not only from an author’s perspective but also from that of the artist.[1] Wikipedia 

More about Marion Fairfax


Buy a signed copy of when Women Write Hollywood

 

* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!
† Available from the LA Public Library

09 Counterculture and The Monkees from How The Monkees Changed Television [Video] (0:58)

What this entire presentation — How The Monkees Changed Television with Rosanne Welch, PhD (Complete Presentation and Q&A) [Video] (45:06)

09 Counterculture and The Monkees from How The Monkees Changed Television

Rosanne Welch, PhD, Author of Why The Monkees Matter, presents “How The Monkees Changed Television” at a Cal State Fullerton Lunch Lecture on May 8, 2018.

In this talk, she shows how The Monkees, and specifically their presence on television, set the stage for large changes to come in the late 1960s.

 

Transcript

Back in the day — I just mentioned the war — they did have many moments where they referenced the war — the war on poverty — and President Lyndon Johnson and they mentioned particularly — there was a great episode where they were playing dominoes and they dropped all the dominoes and then Davy Jones said to Peter Tork “what do you call this game?” and Peter Tork said “Southeast Asia” and nobody cut that, right, because nobody who is a censor at the network understood what it meant which is pretty shocking if you ask me.

This is Dr. Timothy Leary who was famous back in the day for dropping LSD and whatnot and taking experiments with the psyche and he was watching the program and defining it and recognizing that it was far deeper than anyone else had given it the thought before. So already in the 60s people in the know knew that this was something different and worth paying attention to.


 Why The Monkees Matter: Teenagers, Television and American Pop Culture

    

McFarland (Direct from Publisher) | Amazon | Kindle Edition | Nook Edition

Want to use “Why The Monkees Matter” in your classroom?

Order Examination Copies, Library and Campus Bookstore orders directly from McFarland

McFarland Company logo


About Rosanne Welch, PhD

Rosanne Welch, PhD is a writer, producer and university professor with credits that include Beverly Hills 90210, Picket Fences, Touched by an Angel and ABC NEWS/Nightline. Other books include Why The Monkees Matter: Teenagers, Television and American Pop Culture (McFarland, 2017) and Women in American History: A Social, Political, and Cultural Encyclopedia and Document Collection (ABC-CLIO, 2017), named to the 2018 Outstanding References Sources List, by the Reference and User Services Association (RUSA), a division of the American Library Association. Welch has also published chapters in Torchwood Declassified: Investigating Mainstream Cult Television (I.B.Tauris) and The American Civil War on Film and TV: Blue and Gray in Black and White and Color (Lexington Books, 2018) and essays in Doctor Who and Race: An Anthology and Outside In Makes it So, and Outside in Boldly Goes (both edited by Robert Smith). By day she teaches courses on the history of screenwriting and on television writing for the Stephens College MFA in Screenwriting programs. Her talk “The Importance of Having a Female Voice in the Room” at the 2016 TEDxCPP is available on YouTube.

Show Boat and the History of Screenwriting

Among the many films I have my History of Screenwriting students watch as we march through the chronological eras of that history from Silents to (what I call) Superhero Saturation, I include a couple of musicals to illustrate that genre. Among those musicals I include Show Boat for many reasons. 

First, because they ought to know about Edna Ferber, who wrote the novel on which the show is based, had an interesting history with Hollywood in that she did not approve of selling off her IP (intellectual property) completely – so she leased novels to Hollywood (including the Pulitzer Prize-winning So Big, and the popular Giant (starring Elizabeth Taylor, Rock Hudson and James Dean and adapted by Fred Guiol and Ivan Moffat). 

Second, because they ought to know Paul Robeson who starred in the 1936 film adaptation after having played “Joe” in the London production and became synonymous with the song “Ol’ Man River”.

Third, because it was one of the earliest musicals to take a social justice stance and even handle the subject of miscegenation.

Fourth, because it’s a classic. 

But, I recognize even being socially conscious for their times that there are moments in the portrayals of the African American characters that aren’t always comfortable for my students of color so I’m always on the lookout for ways to teach this.  That’s why I was happy to come across this 2013 book by Todd Decker Show Boat: Performing Race in an American Musical where he focuses on how the story is really the story of how a white girl singer becomes famous on the riverboat by using a ‘black’ voice, making the story more a study of cultural appropriation. I’ve only begun reading it out of order (movie section first, stage play section second) but have found what I’ve read fascinating. 

Check it out at your local library or find it here

Also of interest is the various changes to the original lyrics of “Ol’ Man River” made by artists over the years.

* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!
† Available from the LA Public Library

When Women Wrote Hollywood – 12 in a series – Marion Fairfax

To highlight the wonderful yet largely forgotten work of a collection of female screenwriters from the early years of Hollywood (and as a companion to the book, When Women Wrote Hollywood) we will be posting quick bits about the many films they wrote along with links to further information and clips from their works which are still accessible online. Take a few moments once or twice a week to become familiar with their names and their stories. I think you’ll be surprised at how much bold material these writers tackled at the birth of this new medium. — Rosanne Welch


When Women Wrote Hollywood – 12 in a series – Marion Fairfax

When Women Wrote Hollywood - 12 in a series - Marion Fairfax

Marion Fairfax (October 24, 1875 – October 2, 1970) was an American screenwriter and playwright. Born as Marion Neiswanger in Richmond, Virginia, After she graduated from Chicago’s South Division High School, she enrolled in Emerson College in Boston, Massachusetts. She was married to actor Tully Marshallfor forty-three years. Fairfax worked as a company director, director, editor, editorial director, playwright, producer, screenwriter and theatre actress.

Fairfax first started her career as a stage actress, just like many other women did in that era. By 1901 she was appearing on Broadway and soon after that her own plays started appearing on Broadway. Before she went into pictures she was known for being one of the most distinguished stage authors in the United States, writing Broadway hits such as The Builders (1907), The Chaperon (1908), The Talker (1912), A Modern Girl (1914), In 1915 The Lasky Feature Play Company entered into a contract with Fairfax. This opportunity gave Fairfax the chance to work under William C. DeMille who is known as the author for many successful plays such as “The Warrens of Virginia” and “The Woman.” The success of Fairfax comes through wide knowledge of dramatic values, not only from an author’s perspective but also from that of the artist.[1] Wikipedia 

Lying truth

Lost world

More about Marion Fairfax


Buy a signed copy of when Women Write Hollywood

 

* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!
† Available from the LA Public Library