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.
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:
…and then Owen was an interesting character. I mean he could be your bland white guy except he wasn’t a nice guy necessarily and they had to put up with him because of his talent and he had to learn and grow. So I think he was an interesting character. He’s not the most interesting of all of them. The fact that he had a relationship with Tosh says a little bit about him right? So it’s not the best character but he was you know i mean if he had to have a second white guy he was okay but here’s where i start thinking about the writing makes the show stand out.
It’s time to celebrate the latest book in our series to be published – Keri Dearborn’s Eleanor Roosevelt: A Life in American History landed on my doorstep yesterday and I couldn’t be more excited to read it (even though I’ve already read it to edit it). It comes on the tail of my having watched The First Lady series on Showtime which we hope has interested a new generation in the life and times of this amazing woman.
As with all of our authors in the series, Keri’s research was fascinating to follow – my favorite new fact was learning (thanks to the release of new primary documents) that the scientists who talked to FDR about the Manhattan Project weren’t able to make an appointment with the president – but one of them was in a social club with Mrs. Roosevelt and used that connection to talk to her first. She’s the one who told FDR he had to meet with them.
Those are the great details all of our authors have found (or are still finding in the books that are being completed in the next year or so). We thank the authors whose books have been published (covering Ruth Bader Ginsburg, Gloria Steinem, Hilary Clinton, and Helen Keller) – and look forward to the ones yet to come which cover the lives of Wilma Mankiller, Ida B. Wells, Sally Ride, and Delores Huerta.
Women Making History Series Description
Women Making History is a series of single-volume books that examine the lives and historical impact of the most iconic figures in American Women’s history.
Books in the Women Making History series explore the lives and contributions of important women in American history. Each volume goes beyond biographical details to consider historical context and explicitly discuss the world in which the individual lived and worked, the challenges she faced, and her lasting contributions. This approach allows readers to explore not just the life of a particular woman but also her various political, social, cultural, and historical contexts. In addition to chronological chapters, sidebars, a timeline, document excerpts, and a bibliography, an introductory chapter explores the cultural and historical significance of the individual and places her in the overall historical context, as well as how her actions, beliefs, or positions influenced not only women’s history but history as a whole.
…and then this unreliable narrator thing is a new thing I learned when I got involved in academia and that’s when you look at the interviews that happen with the men who founded Hollywood, they forget to mention the women who did it with them or they mention women without mentioning their names. One of my favorite sad examples is a woman named Jeanie MacPherson – who wrote several westerns under Cecil B DeMille – and you know if students study film history they’ve all heard of Cecil B. DeMille and they rarely hear of Jeanie MacPherson but on almost any movie he made that made money, she wrote it but she died young and he lived on another 30 years and he did an oral history and when they asked him about working with her he said she wasn’t a great writer. I kept her around because she needed a job but I did most of the work and that’s what goes down in the history books because she didn’t get to tell her side and so to me that’s the saddest part of this, is they disappeared and nobody – they didn’t even know they were going to disappear
Host: I think that will be familiar to a lot of people from a lot of different perspectives those types of those types of stories.
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: Is that your is that your favorite period of filmmaking or are you you know are you all over the place with what you watch when it comes to cinema.
Rosanne: I am all over the place because it depends on the story and and the stories that stick with me you know. I love that movie. I love a lot of movies from that period but I also love a lot of movies like “Bonnie and Clyde.” How could you not love “Bonnie and Clyde?” Warren Beatty films are wonderful and but on the – and there I am two gangster movies – but I also love “Heaven Can Wait” another Warren Beatty. Written by Elaine May who’s wonderful and gets lost in the history books but yeah that’s a beautiful film. So I like that period. You know it’s funny.
Host: Is that the new Hollywood period kind of thing?
Rosanne: The New Hollywood Period but also the movies that then I grew up with when they were new. I mean I think when you think about scripts “Back to the Future” is the absolute most tightest best-written movie I can think of. You can watch that movie in every single bit. There’s a great bit in the beginning you know he’s got to have that piece of paper that tells him that when the clock is going to strike – when the lightning’s gonna strike and it’s because his girlfriend comes to him – he gets the paper from a lady. Just oh we’re saving the clock tower you know here’s a fundraising flyer but a teenage boy would throw that away. So you know they had to sit there and go why would he keep it? Well, his girlfriend comes up and says I’m staying at my grandmother’s house this weekend. Here’s her number so you can call me. so it’s his girlfriend’s phone number that’s important and of course, you couldn’t do that in the modern day because he’d have a smartphone and he wouldn’t need the piece of paper but just every detail is so perfectly covered in that movie that you cannot love 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.
![15 They Keep Killing Suzie…and Grace from Why Torchwood Still Matters with Dr. Rosanne Welch, San Diego Who Con 2021 [Video]](https://rosannewelch.com/wp-content/uploads/2022/07/rmw-whocon-2021-torchwood-15.jpg)
![Screenwriting Research Network Conversation #2 – Memories of Our Previous International Conferences [Video]](https://rosannewelch.com/wp-content/uploads/2022/07/srn-conversations-002.gif)
![05 Women and Westerns from What Is a Western? Interview Series: When Women Wrote Westerns from the Autry Museum of the American West [Video]](https://rosannewelch.com/wp-content/uploads/2022/07/rmw-western-05.jpg)
![20 “The Godfather” from In Conversation with Dr. Rosanne Welch [Video]](https://rosannewelch.com/wp-content/uploads/2022/07/rmw-intellect-20.jpg)
![14 Obituaries Are Unreliable Narrators from When Men Forget Women: The Many Ways Male Screenwriters Fail to Mention their Female Colleagues [Video]](https://rosannewelch.com/wp-content/uploads/2022/07/rmw-scms-2021-14.jpg)
![14 Owen Harper from Why Torchwood Still Matters with Dr. Rosanne Welch, San Diego Who Con 2021 [Video]](https://rosannewelch.com/wp-content/uploads/2022/07/rmw-whocon-2021-torchwood-14.jpg)
![04 More On Unreliable Narrators from What Is a Western? Interview Series: When Women Wrote Westerns from the Autry Museum of the American West [Video]](https://rosannewelch.com/wp-content/uploads/2022/07/rmw-western-04.jpg)
![19 More Favorite Films from In Conversation with Dr. Rosanne Welch [Video]](https://rosannewelch.com/wp-content/uploads/2022/07/rmw-intellect-19.jpg)