Thanks to the gracious invitation from my Screenwriting Research Network colleague Paolo Russo – and a grant he was able to procure (and in the before-Covid time) I was able to spend a week at Oxford Brookes University working with the screenwriting masters students in Paolo’s course. At the culmination of the week, I gave this lecture on how writers rooms worked in the States.
Transcript:
Everything that’s written that’s remembered is because you learned something while you were watching it. It might be that friends matter which is really the theme of all of the Harry Potter movies let’s admit it. That’s all you learned from those movies. They were quite fun but that’s a pretty good theme. In life, friends matter. Themes are universal. So this is my opinion but I think, generally speaking, people find this the opinion.
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* 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
Many thanks to Fred Velez for telling me about Daniel Sam and his fun internet Monkees talk show — followed by thanks to Dan for inviting me onto this discussion of all the great Monkees books out there. I enter the chat at the 15 minute mark in the video. — Rosanne
On Tuesday February 16th, 2021, the Plastic EP TV Facebook Live Monkees Discussion Panel held a literary discussion on Monkees Books.
Research on Edwin Hubble lead me to learn more about this set of female mathematicians – and in that wonderful way the synergy of the world seems to work they were then discussed on a UK comedy game show starring Sandy Toksvig – and I learned even more!
Henrietta Swan Levitt figured out how to measure the distance from the earth of pulsating stars. Edwin Hubble then used her calculations to discover the Milky Way. One of the game show guests asks when she gets credit and the answer is – only anecdotally from Hubble reminding people of her work. Why you might ask? For two reasons…
First, Levitt was part of what was nicknamed Pickering’s Harem. Edward Pickering ran the Harvard Observatory and found his male employees who analyzed data from the skies incompetent and slow so one day he said, “My maid could do it better.” The male staff said “Go ahead” so Pickering did hire a slew of women and as they worked so well he hired more women. Annie Jump Cannon manually classified 350,000 stars in her career. Yet, in that way misogyny takes over, rather than call them fellow mathematicians or astronomers, the women became… Pickering’s Harem. I also learned that this lead to the Harem effect — a phenomenon where male executives hire female assistants as they are cheaper and work harder. The jokes of these game show celebrities reminded me of the misogyny of naming the women Pickering’s Harem. We didn’t call the men of the Mercury project “Jackie Kennedy’s consorts”. I mean what a way to demean a set of highly educated women.
The Second reason Henrietta Swan Levitt did not receive full credit for her discovery is that Swedish mathematician Gösta Mittag-Leffler DID want to nominate Levitt for the 1926 Nobel Prize for Physics – but she had died 4 years earlier and the Prize can’t be awarded posthumously (I wonder what male thought up that dumb rule – and why?). Thankfully, Hubble always mentioned Levitt – but textbooks do not necessarily. At the end of the segment the host then covers the many lies Hubble told in his lifetime as a means of polishing his less than elegant background.
Highlighting the articles in the past editions of the Journal of Screenwriting, of which I am the Book Reviews Editor. Hopefully these abstracts will entice you to did a little deeper into the history and future of screenwriting. — Rosanne
This article explores ‘scripting’ the adapted screenplay for budget film models, including microbudget features, DIY film-making and creative practice-led research. It highlights the lack of attention given to the adapted screenplay in the field of adaptation studies, and works with notions of intermediality, and transmediality, to privilege the screenplay as the primary site for creative interaction in the adaptation process. In the context of small-scale, budget film-making practices the focus is towards modes of scripting that rely on working with images, both as part of the screenplay form/format and more directly, in ‘writing’ with moving images, with the screenplay situated within production. This article argues that in consideration of the adapted screenplay, for budget film-making, the relationship between words and images is realigned. The impact of digital media culture together with the advance of digital film-making will accelerate this. Two case studies are presented. The first is Mala No he (1985), the debut feature film of Gus Van Sant, based on the novella by Walt Curtis. The second is LBF (2011), the author’s own debut feature film, based on the novel Living Between Fucks (2006) by Cry Bloxsome. This article aims to engage screenwriting researchers, independent/budget film-makers and creative arts practitioners.
The Journal of Screenwriting is an international double-blind peer-reviewed journal that is published three times a year. The journal highlights current academic and professional thinking about the screenplay and intends to promote, stimulate and bring together current research and contemporary debates around the screenplay whilst encouraging groundbreaking research in an international arena. The journal is discursive, critical, rigorous and engages with issues in a dynamic and developing field, linking academic theory to screenwriting practice.
This fictional vision of slavery was pervasive many years after the war, up to and including GWTW. In her book Clinging to Mammy (2007), Micki McElya posits the idea that “the myth of the faithful slave lingers because so many white Americans have wished to live in a world in which African Americans are not angry over past and present injustices, a world in which white people were and are not complicit, in which the injustices themselves—of slavery, Jim Crow, and ongoing structural racism—seem not to exist at all.”.
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Transcript:
So now, in reading screenplays, people can appreciate the voice of the writer in a way they were never able to before. So we see this movement going on which is very important to me. Again, why does this matter? Because we stand on the shoulders of all the people who came before us in this business. We owe them understanding who they are and what they had to offer. In my mind, we have to honor them the same way he honors his ancestors in this movie. That’s what we’re all about if you ask me. So when i teach in this program, this is why these words mean something to me. WRITE, so you can REACH other people and REPRESENT the cultures and the stories that have not been told before. That, to me, is something that we should be very excited about. That’s why researching screenwriters has always mattered. I’m Rosanne Welch I approve this message. Thank you very much.
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A Note About This Presentation
A clip from my keynote speech at the 10th Screenwriters´(hi)Stories Seminar for the interdisciplinary Graduation Program in “Education, Art, and History of Culture”, in Mackenzie Presbyterian University, at São Paulo, SP, Brazil, focused on the topic “Why Researching Screenwriters (has Always) Mattered.” I was especially pleased with the passion these young scholars have toward screenwriting and it’s importance in transmitting culture across the man-made borders of our world.
To understand the world we have to understand its stories and to understand the world’s stories we must understand the world’s storytellers. A century ago and longer those people would have been the novelists of any particular country but since the invention of film, the storytellers who reach the most people with their ideas and their lessons have been the screenwriters. My teaching philosophy is that: Words matter, Writers matter, and Women writers matte, r so women writers are my focus because they have been the far less researched and yet they are over half the population. We cannot tell the stories of the people until we know what stories the mothers have passed down to their children. Those are the stories that last. Now is the time to research screenwriters of all cultures and the stories they tell because people are finally recognizing the work of writers and appreciating how their favorite stories took shape on the page long before they were cast, or filmed, or edited. But also because streaming services make the stories of many cultures now available to a much wider world than ever before.
Many thanks to Glaucia Davino for the invitation.
* 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
This new “A Woman Wrote That” post is an echo of the Writers Guild campaign of a few years ago (“A Writer Wrote That”) where they noted famous movie quotes and credited the screenwriter rather than the director. The difference here being that we will be posting lines from films written by female screenwriters. Feel free to share! — Rosanne
AMBER
Ms. Stoeger, my plastic surgeon doesn’t want me doing any activity where balls fly at my nose.
I had a lot of fun on my first Twitter Chat last Sunday. Jeanne Veillette Bowerman of #Scriptchat had invited to talk about how to behave in a writers room alongside what are the benefits of an MFA in TV and Screenwriting (such as the one we offer from Stephens College).
Happily, I had just interviewed Gloria Calderon Kellet who had an MFA and who had said so astutely that no one requires that in Hollywood but taking 2 years to invest in herself and her craft meant she had material that was truly of high enough quality to offer up when future producers offered to read her work. So that was nice!
As to Twitter, I knew being short and concise is the bread and butter of Twitter but… wow… I’m clearly a much longer storyteller and kept running over the limit and having to use ellipses to extend a sentence or a thought. But folks seemed to enjoy it and even said I had ‘dropped pearls’ so that was nice to hear as well.
Check out #Scriptchat every Sunday night at 5pmPST/8pmET for more fun guests.
“Where’s HER Movie” posts will highlight interesting and accomplished women from a variety of professional backgrounds who deserve to have movies written about them as much as all the male scientists, authors, performers, and geniuses have had written about them across the over 100 years of film. This is our attempt to help write these women back into mainstream history. — Rosanne
Anna LoPizzo was a striker killed during the Lawrence Textile Strike (also known as the Bread and Roses Strike), considered one of the most significant struggles in U.S. labor history. Eugene Debs said of the strike, “The Victory at Lawrence was the most decisive and far-reaching ever won by organized labor.”[1] Author Peter Carlson saw this strike conducted by the militant Industrial Workers of the World (IWW) as a turning point. He wrote, “Wary of [a war with the anti-capitalist IWW], some mill owners swallowed their hatred of unions and actually invited the AFL to organize their workers.[2]
Anna LoPizzo’s death was significant to both sides in the struggle. Wrote Bruce Watson in his epic Bread and Roses: Mills, Migrants, and the Struggle for the American Dream, “If America had a Tomb of the Unknown Immigrant paying tribute to the millions of immigrants known only to God and distant cousins compiling family trees, Anna LoPizzo would be a prime candidate to lie in it.”[3] — Wikipedia
I enjoyed sharing the names and careers of women like Peg Lynch, Gerturde Berg, Selma Diamond and D.C. Fontana to the members who gathered on Zoom last Wednesday morning. There are so many more I could have talked about whose names don’t appear in mainstream books about the history of television so we have to learn who they are and carry those names forward ourselves. It’s one of the missions of the Stephens College MFA in TV and Screenwriting – and has been one of my missions all my life.
Women pioneers who created, produced or shepherded many of America’s most wildly popular, early television programs will be profiled by Dr. Rosanne Welch.
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