From The “When Women Wrote Hollywood Archives 36: Reclaiming the Archive: Feminism and Film History

Months of research went into the creation of the essays in “When Women Wrote Hollywood.” Here are some of the resources used to enlighten today’s film lovers to the female pioneers who helped create it.

Reclaiming archive


Reclaiming the Archive: Feminism and Film History brings together a diverse group of international feminist scholars to examine the intersections of feminism, history, and feminist theory in film. Editor Vicki Callahan has assembled essays that reflect a range of methodological approaches-including archival work, visual culture, reception studies, biography, ethno-historical studies, historiography, and textual analysis-by a diverse group of film and media studies scholars to prove that feminist theory, film history, and social practice are inevitably and productively intertwined.

Essays in Reclaiming the Archive investigate the different models available in feminist film history and how those feminist strategies might serve as paradigmatic for other sites of feminist intervention. Chapters have an international focus and range chronologically from early cinema to post-feminist texts, organized around the key areas of reception, stars, and authorship. A final section examines the very definitions of feminism (post-feminism), cinema (transmedia), and archives (virtual and online) in place today.

The essays in Reclaiming the Archive prove that a significant heritage of film studies lies in the study of feminism in film and feminist film theory. Scholars of film history and feminist studies will appreciate the breadth of work in this volume. — Amazon


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When Women Wrote Hollywood: Essays on Female Screenwriters in the Early Film Industry

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When Women Wrote Hollywood: The Movies – First in a series – Fanchon, the Cricket by Frances Marion

An on-going series highlighting the women screenwriters of early Hollywood.

When I was first asked to create a history course for a new MFA focused on the mission of bringing more female voices and female-centric stories to Hollywood, I knew we had to start at the very beginning, when women ran Hollywood. No other course I had ever taken or been asked to teach focused on these women, some of whom I had been reading about since the summers of my childhood in Cleveland, Ohio. Back then, I went to the library once a week to collect a stack of memoirs by women I had seen interviewed on The Merv Griffin Show, women like Anita Loos and Adela Rogers St. Johns. Their stories introduced me to moguls like Louis B. Mayer or Jack Warner, who make up most of the history courses I later found in academia. Knowing better, I found most of those courses, and their accompanying textbooks, glossed over these women with a paragraph if they mentioned them at all. I conceived a course that would begin with these women who began Hollywood and culminate in research by each graduate student into the life and career of one particular early female screenwriter. That is what you find here. A collection of herstories about how these women lived, loved and created the stories that gave their audiences reasons to live and love in their own lives. — Dr. Rosanne Welch, Editor. When Women Wrote Hollywood

When Women Wrote Hollywood: The Movies - First in a series - Fanchon, the Cricket by Frances Marion

Fanchon, the Cricket (1915) - 1.jpg
By Paramount Pictures – Variety (Apr. 1915) on the Internet Archive, Public Domain, Link

Fanchon, the Cricket is a 1915 American silent drama film produced by Famous Players Film Company and distributed by Paramount Pictures. It is based on a novel, La Petite Fadette by George Sand. It was directed by James Kirkwood and stars Mary Pickford, now working for Adolph Zukor and Daniel Frohman. A previous film version of the story was released in 1912 by IMP (later Universal) and directed by Herbert Brenon.[1] Wikipedia

Frances Marion(bornMarion Benson Owens, November 18, 1888[1]– May 12, 1973) was an American screenwriter, journalist, author, and film director, often cited as one of the most renowned female screenwriters of the 20th century alongsideJune MathisandAnita Loos. During the course of her career, she wrote over 325 scripts.[2]She was the first writer to win twoAcademy Awards. Marion began her film career working for filmmakerLois Weber. She wrote numeroussilent filmscenarios for actressMary Pickford, before transitioning to writingsound films. — Wikipedia


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When Women Wrote Hollywood: Essays on Female Screenwriters in the Early Film Industry

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22 Modern-Day Vampires from When Women Write Horror with Dr. Rosanne Welch [Video] (1 minute)

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22 Modern-Day Vampires from When Women Write Horror with Dr. Rosanne Welch

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In honor of Halloween – and in service to my teaching philosophy —

“Words Matter. Writers Matter. Women Writers Matter.”

I presented this holiday lecture “When Women Write Horror” on Tuesday, October 29th, 2019. Researching the many, many women who have written horror stories – in novels, films and television – brought new names to my attention who I am excited to start reading. I hope you will be, too!

Transcript:

We also then, of course, know about The Vampire Diaries. Julie Pleck put that out, but now she has Legacies which is a sequel to that and Origins which is another one. Interesting because here she’s also turning them more into the sexy dudes and we’re starting to talk about that concept. The problem behind it is at what point does the super-sexy guy really become a way to hide the toxic romance that’s going on when we think about vampires, because vampires are, in fact, capable of killing you. This is a boyfriend who can kill you and you are agreeing to be with him knowing how dangerous that is. That’s a definition of domestic violence in its own way and yet we’re turning it into pop culture hot oh boy which one do I pick? Which team are you on? Right? so is that, again, defanging them, or is that accidentally empowering those kinds of relationships?

From The Journal Of Screenwriting V2 Issue 1: The aesthetic independence of the screenplay by M.-R Koivumki

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


The aesthetic independence of the screenplay by M.-R Koivumki
  
The aesthetic independence of an artwork is usually defined by the direct relationship between the viewer and the artwork. The screenplay, however, is actualized for the viewer only via cinematic performance. Therefore, we should ask how the viewer experiences the performance and to what extent this experience is created by the contribution of the screenplay, and especially which elements are realized in the presentation and contribute to building up the performance for the viewer to experience.The approach I am leaning on, and through which I am hoping to gain new insights into the aesthetic independence, is dramaturgical and thus practice-based. The common hermeneutic approach in artistic research usually defines what the artworks are and how they exist in our world as cultural phenomena. Through the dramaturgical approach I explore how the screenplay functions within the presentational process.I discuss the contribution of the screenplay as a literary artwork by asking how the literary characteristics of the screenplay appear in a film and their function in the performance. I also explore the screenplay’s contribution from the viewer’s point of view. Here I am not leaning on the perception theories; instead I am using my own observation of the cinematic performance. Lastly, I discuss the dramaturgical process as an interpretive continuum that leads from the screenwriter to the viewer.


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. 

Get your copy and subscription to the Journal of Screenwriting Today!



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** Many of these books may be available from your local library. Check it out!

From The “When Women Wrote Hollywood Archives 35: The Collected Lorna Moon

Months of research went into the creation of the essays in “When Women Wrote Hollywood.” Here are some of the resources used to enlighten today’s film lovers to the female pioneers who helped create it.

From The

 

For the first time, The Collected Lorna Moon brings together her much acclaimed novel Dark Star, collected short stories Doorways in Drumorty, and a selection of her previously unpublished letters and poetry to offer a fresh perspective on this unusual woman: a woman who travelled a long distance from Scotland and yet, imaginatively, took Scotland with her and re-fashioned the experiences of her early years. The life story of Lorna Moon from her escape from Scotland, a series of romantic adventures, to a career as a script writer in the early days of Hollywood, presents the wildest challenge to our expectations for a woman in rural Scotland in the early twentieth century. Her writing, in equally dramatic fashion, takes the conventional subject of Scottish small-town life, and reshapes it through a combination of satirical analysis and melodramatic romance that no other writer from the north-east has achieved. The Collected Lorna Moon is an enchanting collection, edited and introduced by Glenda Norquay, scholar of Scottish fiction and featuring a foreword by Richard de Mille, the illegitimate son of Lorna Moon and Hollywood director Cecil B. de Mille’s son William, in order to provide insight into the life of an extraordinary woman.  — Amazon


Buy “When Women Wrote Hollywood” Today!


When Women Wrote Hollywood: Essays on Female Screenwriters in the Early Film Industry

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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

21 Buffy and Masculinity from When Women Write Horror with Dr. Rosanne Welch [Video] (1 minute 9 seconds)

Watch this entire presentation

21 Buffy and Masculinity from When Women Write Horror with Dr. Rosanne Welch

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In honor of Halloween – and in service to my teaching philosophy —

“Words Matter. Writers Matter. Women Writers Matter.”

I presented this holiday lecture “When Women Write Horror” on Tuesday, October 29th, 2019. Researching the many, many women who have written horror stories – in novels, films and television – brought new names to my attention who I am excited to start reading. I hope you will be, too!

Transcript:

The other thing that was going on with Buffy and a couple of other shows we’ll talk about, is that we’re taking vampires who were the other and the scary and the bad and we’re making them sexy and hot, which is a female perspective but then we have to ask ourselves is that good or is that bad? Is that good because in a way when you make the men the objectified sexual object are you taking power away from them and therefore giving that power to the women? That’s a question because you can’t deny David Boreanaz was hot. This is all there is to it. He’s still hot. I know through Buffy through Bones and through Seal Team that man just… but I think it’s a great credit to this actor. We have to recognize he could manage to be deeply, deeply masculine while not being the most important person in the story. He could be the supportive man beside her and that made him all the more man and that’s a different way to define what manhood is and that’s I think a really important thing we’re seeing in some newer literature. So that I think is fascinating.

From The Journal Of Screenwriting V2 Issue 1: Competitive writing: BBC Public Service television light entertainment and comedy in the 1970s and 1980s by Heather Sutherland

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


Competitive writing: BBC Public Service television light entertainment and comedy in the 1970s and 1980s by Heather Sutherland

Comedy has always been the least plausibly public service genre. It is entertaining and consequently seen as trivial, closest to commercial and often close to vulgar. Yet comedy remains the key to attracting audiences and is the aspect of programming most greedily eyed by the BBC’s competitors. This article examines how, facing severe competition during the 1970s and 1980s, in the shape of ITV and the arrival of Channel 4 in 1982, the BBC responded to the challenges of this competitive landscape, highlighting the Corporation’s approach to comedy writers and writing as a key competitive tactic. Whilst ITV and Channel 4 had their successes, the BBC, through its emphasis on organic as opposed to formula comedy forms, was able to articulate clearly the differences between its light entertainment and comedy scripts and those of the competitors. For instance, the absence of a commercial break allowed the development of more intricate plots and sub-plots, alongside in-depth characters; the structure of joke-telling adopted a more dramatic form, bringing to light wider themes, and resulting in comedic work that could inform, educate and entertain all at once. Furthermore, the nurturing approach experienced by writers working for the Corporation allowed the encouragement of new writers (to address new niche audiences) and the taking of risks in writing (particularly those under the heading alternative comedy), ultimately enabling writers to produce scripts that allowed the BBC to not only match its competitors, but to exceed them, principally with regard to the idea of what is termed here popular quality programming. As such, the history of the BBC’s approach to comedy writers and the styles and forms of BBC comedy writing can be a means of access to the core debates about what the BBC should do and produce as a public service; here is one strategy that was key to the Corporation’s defence of its public broadcaster status and its funding by licence fee. Its comedy department, scriptwriters and scripts act as an illustration of the shifts and tensions being experienced behind the scenes in the Corporation overall at this particular point in time.


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. 

Get your copy and subscription to the Journal of Screenwriting Today!



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** Many of these books may be available from your local library. Check it out!

From The “When Women Wrote Hollywood Archives 34: Women Filmmakers in Early Hollywood by Karen Ward Mahar

Months of research went into the creation of the essays in “When Women Wrote Hollywood.” Here are some of the resources used to enlighten today’s film lovers to the female pioneers who helped create it.

From The “When Women Wrote Hollywood Archives 34: Women Filmmakers in Early Hollywood by Karen Ward Mahar

From The

 

Women Filmmakers in Early Hollywood explores when, how, and why women were accepted as filmmakers in the 1910s and why, by the 1920s, those opportunities had disappeared. In looking at the early film industry as an industry―a place of work―Mahar not only unravels the mystery of the disappearing female filmmaker but untangles the complicated relationship among gender, work culture, and business within modern industrial organizations.

In the early 1910s, the film industry followed a theatrical model, fostering an egalitarian work culture in which everyone―male and female―helped behind the scenes in a variety of jobs. In this culture women thrived in powerful, creative roles, especially as writers, directors, and producers. By the end of that decade, however, mushrooming star salaries and skyrocketing movie budgets prompted the creation of the studio system. As the movie industry remade itself in the image of a modern American business, the masculinization of filmmaking took root.

Mahar’s study integrates feminist methodologies of examining the gendering of work with thorough historical scholarship of American industry and business culture. Tracing the transformation of the film industry into a legitimate “big business” of the 1920s, and explaining the fate of the female filmmaker during the silent era, Mahar demonstrates how industrial growth and change can unexpectedly open―and close―opportunities for women. — Amazon


Buy “When Women Wrote Hollywood” Today!


When Women Wrote Hollywood: Essays on Female Screenwriters in the Early Film Industry

Paperback Edition | Kindle Edition | Google Play Edition

Help Support Local Bookstores — Buy at Bookshop.org

* 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

20 Even More On Buffy from When Women Write Horror with Dr. Rosanne Welch [Video] (1 minute 16 seconds)

Watch this entire presentation

20 Even More On Buffy from When Women Write Horror with Dr. Rosanne Welch

Subscribe to Rosanne’s Channel and receive notice of each new video!

 

In honor of Halloween – and in service to my teaching philosophy —

“Words Matter. Writers Matter. Women Writers Matter.”

I presented this holiday lecture “When Women Write Horror” on Tuesday, October 29th, 2019. Researching the many, many women who have written horror stories – in novels, films and television – brought new names to my attention who I am excited to start reading. I hope you will be, too!

Transcript:

The other thing that’s important about Buffy is that we’re going to blend in some LGBTQ stories in the course of time. We’re going to blend in the fact that these men in her life help but never save the day. In any other story, it’s the men who come along and save the damsel in distress. In this case, it’s the chick who saves the dudes in distress or through sharing the work they make the solution happen. One of the special things about Buffy was it is about how a woman masters a problem in a feminine way right? Sadly we tend to think that when boys learn how to save the day they learn how to master a weapon and go one on one with the bad guy. That’s what they’ve seen in a million movies — many movies that i enjoy myself. The way women do it is they gather a group around them and they empower that group to be as good as they can be together and then as a group they go forward and they save the day and that’s a feminine way of doing things that’s a very that’s a very teacherly way of doing things. Together we will learn this and we will master this thing and move on in the world and succeed. So i think the show did so many things from a feminine perspective and i think it’s because of those two ladies. That makes a big difference.

From The Journal Of Screenwriting V1 Issue 2: Who Writes British Films: A Summary on the UKFC Report and a Call for Further Research by Susan Rogers

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


Who Writes British Films: A Summary on the UKFC Report and a Call for Further Research by Susan Rogers

In 2007 I was commissioned by the UK Film Council to investigate the background and employment experience of screenwriters credited on a random selection of recent UK films. The resulting report, Writing British Films Who Writes British Films and How They are Recruited, confirmed some widely-held views and uncovered much new information. The UK Film Council’s first studies had revealed that many of the beliefs about screenwriting, expressed in interviews within the British film industry, to be anecdotal or based on unsubstantiated fact and to an extent, myth, confirming the scarcity of research in this field. The following is a summary and a reflection on the findings revealed in the report.


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. 

Get your copy and subscription to the Journal of Screenwriting Today!



* 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!