💪🍪 We honor the great women who have gone ahead of us and who walk beside us every day on this #InternationalWomensDay. This Peanuts strip was first published on November 11, 1976.
Philip Lazebnik has written numerous television episodes and motion picture screenplays in Los Angeles and Europe. His screenwriting credits include Disney’s Pocahontas and Mulan, and DreamWorks’ Prince of Egypt and The Legend of El Dorado. For the past several years, LaZebnik has lived in Denmark, where he has written movies and television shows throughout Europe and the U.S. His produced movies include the three Treasure of the Templar Knights movies in Denmark and The Three Investigators: The Secret of Skeleton Island and The Three Investigators: The Mystery of Terror Castle for Studio Hamburg; the Danish film Emma and Santa Claus; the English screenplay for Asterix and the Vikings and Asterix and the Domain of the Gods. He also wrote the TV mini-series Hindenburg in Germany, the Christmas TV series Ludvig and Santa Claus for TV2 in Denmark, and the book for Fairytale, a theatrical musical about H.C. Andersen with songs by Stephen Schwartz. Most recently he wrote the book for the musical theatrical version of Prince of Egypt with Stephen Schwartz, which opens in London’s West End on February 25, 2020.
A freeborn African-American educator and anti-slavery activist, Charlotte Bridges Forten Grimke, was one of the most influential of abolitionists and civil rights activists of the mid-nineteenth century. In 1862, in the midst of the Civil War, Forten went to Port Royal, South Carolina, where slaves abandoned by their masters after they fled Union forces, were preparing for life after slavery. Forten established a school for former slaves. Her ultimate goal was to provide her students with the skills to live as free persons. After the war Forten worked for issues such as women’s rights and black civil rights.
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Mathematician and U.S. Navy rear admiral Grace Murray Hopper was a pioneer in computer science. Hopper was one of the first programmers of the Harvard Mark I computer and developed the first compiler for computer programming language. She helped to create UNIVAC I, the first commercial electronic computer, and the naval applications for COBOL, or com- mon business-oriented language. She is credited with popularizing the term “debugging.” Her nickname “Amazing Grace” came from the scope of her accomplishments and her naval rank.
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Raised as a girl in the early 1600s, Thomasine/Thomas Hall spent much of her adult life living as a man. Hall came to Virginia in 1607 and lived as a man until 1629, when she was discovered and ordered to assume female dress. Hall may have been a cross dresser, but she also many have been inter-sex, as there seems to be some confusion about her sex. In the 1630s a court ordered Hall to wear man’s dress, but a woman’s apron, suggesting the importance of clothing to colonial gender ideologies.
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Civil rights and labor activist Dolores Clara Fernandez Huerta has made a life’s work of advocacy for farmworkers, immigrants, women, and the American Hispanic (Latino/a) community. Huerta is the co-founder of three major civil rights organizations, including the Stockton, California, chapter of the Community Service Organization (1955); the Agricultural Workers Association (1960); and the National Farm Workers Association (1962) with Cesar Chavez (1927–1993), which later became the United Farm Workers (UFW).
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Female pirate Anne Bonny operated in the Caribbean in the early 1700s. Though she never commanded a ship she was known for her ferocious fighting skills. She and Mary Read, another female pirate, were eventually captured by authorities. Read died in prison, but Bonny may have escaped or been ransomed. Both women were legendary free spirits who rejected ideas about women’s place and lived lives of relative freedom.
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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:
Alright, so welcome everybody. Today because we’re just two days outside of Halloween, we want to talk about horror but we want to talk about women in horror because you don’t get a lot of that right? When we think about horror we think about a lot of famous male authors. Now we do think about some of the women — both writers and we’re gonna think about some stories that are famous stories that are female focused and how that affects us as we watch these types of things right? What they make us think about. What we should be thinking about? So when I think about horror, I think about this lady first, Guesses? Mary Shelley. Mary Shelley. When we think about Mary Shelley we think about what book she wrote? Frankenstein. Right? Frankenstein does double duty. It’s kind of a double genre piece. It’s science fiction but it’s also horror. When we think about Frankenstein, we think about the monster and the movies that we’ve seen. The costumes people wear for Halloween. A lot of people — until they read Frankenstein — don’t understand that’s not the name of the monster. That’s name of Dr. Frankenstein who made the monster right? So this was all concocted in the brain of a 19 year old young woman and that’s how important her work was. We’re still reading it to this day right and we’re still thinking about what does it mean.
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Sandra Day O’Connor’s place in history was secured when President Ronald Reagan appointed her as the first female to serve on the U.S. Supreme Court. However, her role as the swing vote on an increasingly divided Court guaranteed that she will be remembered as far more than a pathbreaking symbol.
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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 aims to contribute to contemporary debates about screenwriting as a process of developing the screen idea; about the ways in which formatting conventions from an earlier era of cinema may restrict innovation in screenwriting; and about shifting practices of screenwriting in a digital era in which images and sound play a potentially more significant role. Additionally, it questions the use of terms such as blueprint to describe the relationship between the screenplay and the proposed film that it represents. The article draws on the author’s body of practice-led research as a writer and director of feature films and documentaries, as well as histories of screenwriting, film production, comics and the graphic arts.
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.
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