09 More On Women Writing Westerns For TV from What Is a Western? Interview Series: When Women Wrote Westerns from the Autry Museum of the American West [Video]

09 More On Women Writing Westerns For TV from What Is a Western? Interview Series: When Women Wrote Westerns from the Autry Museum of the American West [Video]

Transcript:

…but so these women have moved into tv they start doing these other sorts of westerns and then of course Leigh Brackett moves back into movies when she writes “The Empire Strikes Back” but also think about the era of tv as it expands and grows they’re done telling the same repetitive stories. So then we’re going to get Beth Sullivan and “Dr. Quinn, Medicine Woman”, right which takes the West from that female perspective and is based in real life on a couple of women who couldn’t be doctors in the East, right, but it’s still Western. We got horses. We got cute guys and you know outlaw outfits. It’s a western. It’s just a female experience. So they see much more opportunity there and then slowly maybe they’re appealing back in the movies when it comes to westerns but not as much as we’d like.

 

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. — RMW Rosanne Signature for Web


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.

Find more information at the Autry Museum of the American West

Losing the Real Girl in Adapting Gidget with Dr. Rosanne Welch

Losing the Real Girl in Adapting Gidget

On Saturday, August 6th I had the pleasure of giving an Introductory lecture on Adaptation before a screening of the movie Gidget. Written by Gabriele Upton the film was based on the novel by screenwriter Frederick Kohner which was itself based on the diaries of his daughter, Kathy Kohner, about the summer she learned to surf.

Losing the Real Girl in Adapting Gidget with Dr. Rosanne Welch

I focused on the fact that the book is a love story between a young woman and a sport – surfing – whereas the movie became a more generic love story about a girl and a college boy. While it has been enjoyed over the years its saccharine take has kept readers from discovering the real excitement and joy of independence Kathy (nicknamed Gidget) found that summer in Malibu. She made a series of important decisions about her life and proved herself among a group of seasoned male athletes simply by working hard at being good enough to surf alongside them. I ended by illustrating how the TV series (written by Ruth Brooks Flippen and starring Sally Field in her first big role) managed to capture the truth of the novel better than the 3 films made from it – which oddly starred 3 different women in the lead role but the same male lead – as if the films belong to Moondoggie but the TV show belonged once again to Kathy.

Losing the Real Girl in Adapting Gidget with Dr. Rosanne Welch

I had the great treat of bringing my 2 MFA cohorts to the Autry Museum for the event so they could check out the museum before the show. Then we all had the great treat of being joined by the real Kathy Kohner Zuckerman herself along with a group of young female surfers who wanted to watch the movie and meet an idol. Thanks to Ben Fitzsimmons for inviting us all to create this event together. And remember whenever you see a film based on a book that reading the book will make for an even richer experience of the story.

Losing the Real Girl in Adapting Gidget with Dr. Rosanne Welch

08 Women Writing Westerns For TV from What Is a Western? Interview Series: When Women Wrote Westerns from the Autry Museum of the American West [Video]

08 Women Writing Westerns For TV from What Is a Western? Interview Series: When Women Wrote Westerns from the Autry Museum of the American West [Video]

Transcript:

…and tv is a place where a lot of these women move because they get we’re doing westerns on TV. We start to do a few less westerns – even in the film world as science fiction and stuff takes over – and the women move into television and they’re doing episodes of “Bonanza” and “Wagon Train” and “High Chaparral.” Again, you have the David Dortort” papers there which are so interesting to read because “High Chaparral” is a really cool show when it comes to a female who owned the ranch and then she married – she’s an indigenous woman – she marries a white guy then he co-powers it with her. Really fascinating story. So the women start writing those kinds of things and eventually in the TV realm they move into places where I always rank D.C. Fontana because here’s a woman who wrote westerns on TV and then she got involved in “Star Trek” which as you know was sold as “Wagon Train” to the stars. So she’s just writing westerns with guys in you know tight suits and really the sad thing about that is takes years for people to realize D.C. Fontana is a girl because one of the things that producers and publishers still ask women to do when they’re writing male-focused stories is to use their initials because they don’t think boys or men will read or watch something by Dorothy Christine (actually, Catherine) Fontana I can’t remember Christine’s her middle name. I don’t remember but same thing is and you think we’re done with that except my kid grew up. He’s 22. He’s the generation that read “Harry Potter” by J.K. Rowling. I mean come on. Could we just not use women’s name right? I grew up reading “The Outsiders” by S.E Hinton. It’s ridiculous, right?

 

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. — RMW Rosanne Signature for Web


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.

Find more information at the Autry Museum of the American West

17 We Stand On The Shoulders…from When Men Forget Women: The Many Ways Male Screenwriters Fail to Mention their Female Colleagues [Video]

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”

17 We Stand On The Shoulders…from When Men Forget Women: The Many Ways Male Screenwriters Fail to Mention their Female Colleagues [Video]

Transcript:

I think that we stand on the shoulders of the people who came before us and it’s our job to make sure they are not forgotten. So, we have to be the people who do our own research and don’t trust all of those narrators that we study when we go through our research and – I do love and archive so I don’t want people to think I don’t – but there you go. That’s me. That’s my book. That’s what I want to talk about and I hope that you remember those names and if you haven’t heard of them before and you feel like looking them up and learning more about them, because women did run Hollywood for a long time.

 

 


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07 Women Writing Westerns from What Is a Western? Interview Series: When Women Wrote Westerns from the Autry Museum of the American West [Video]

07 Women Writing Westerns from What Is a Western? Interview Series: When Women Wrote Westerns from the Autry Museum of the American West [Video]

Transcript:

 

Host: You mention the Silent Era being this
really open, Wild West period of film writing.

If we sort of sketch a line across the 20th Century and now into the 21st Century how

did women’s opportunities kind of wax and
wane in different periods?

What new opportunities opened up?

What things were foreclosed?

How did those kind of trends go across the
history of film?

Rosanne: Wonderful.

Well.

first of all, of course, in the Silent Era
it was – everybody going at it and having

fun until there was too much money in it and
then the women segued out.

Again, they went into novels and literature
although a few people survived that period,

but they weren’t writing westerns.

right?

Except – as you all know from the Autry
Museum – Betty Burabge was writing Gene

Autry movies, right?

So there were some women.

Leigh Brackett – again who is coming in
handy when we’re talking about “Star Wars”

was a western novelist and write western serialization
and things.

So we have some women but it becomes a dude
thing, right, and then this is a problem for

writers all the time.

You get pigeonholed just like actors do.

Oh you did that one movie and your brilliant
at it?

We want you to do fourteen on the same movie.

It’s very few people who get to be William Goldman and do a variety of different things. You have to really reach that peak. So women – it wanes in movies. Although B Serial have a little more opportunity for them and then, yes, TV is invented.

 

 

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. — RMW Rosanne Signature for Web


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.

Find more information at the Autry Museum of the American West

16 Joan Didion & John Gregory Dunne from When Men Forget Women: The Many Ways Male Screenwriters Fail to Mention their Female Colleagues [Video]

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”

16 Joan Didion & John Gregory Dunne from When Men Forget Women: The Many Ways Male Screenwriters Fail to Mention their Female Colleagues [Video]

Transcript:

Again, as I said, Joan Didion and John Gregory Dunne who wrote all these wonderful things together. John Gregory Dunne actually would have Joan go to meetings first because the men you work with in Hollywood, if you went to a meeting together would look at John while they talked. So, if they sent Joan alone and pretended John was sick one day the men got used to looking at her and then when they came together they looked at both of them. so, they were pretty brilliant about making sure she didn’t get forgotten in the writing process like that.

 

 


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06 More On Women and Westerns from What Is a Western? Interview Series: When Women Wrote Westerns from the Autry Museum of the American West [Video]

06 More On Women and Westerns from What Is a Western? Interview Series: When Women Wrote Westerns from the Autry Museum of the American West [Video]

Transcript:

Rosanne: Right. One of the great comparisons people will make – and I adore “Star Wars” and we’re going to talk about “Star Wars” and how that’s really a western – 

Host: Okay.

Rosanne: I adore “Star Wars” but of course, that’s the lesson that you know young Luke Skywalker learns whereas you compare that to – and there’s a lovely Ted Talk that does this – “The Wizard of Oz”, which is a female heroine and what she does is she takes the group around her, empowers all of them to do their best, and as a team they succeed and those – that’s a different look at our West but we know the West did not survive because one or two men took on one or two other people. It survived because great communities of people came together right and did that and on the flip side –when we think about Native Americans – they all fought together as well. It wasn’t just the male warriors. The women were upholding all these things and they also took the brunt of the disease that was passed and all those things. So the community idea is really what – I think – we all succeed at and by not seeing that side of a story, we’re telling men they have too much work to do all by themselves and that’s not fair.

Host: that’s a great way to tell – I’ll teach my daughter that.

 

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. — RMW Rosanne Signature for Web


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.

Find more information at the Autry Museum of the American West

21 “Norma Rae” and “Silkwood” from In Conversation with Dr. Rosanne Welch [Video]

21

Transcript:

Rosanne: I love a movie like “Norma Rae.” I think “Norma Rae.” is an excellently written film and that’s Harriet Frank, Jr. and Ivan (Ravetch) her husband. They were a married writing team. That’s a quite perfect film and Sally Field does a perfect job and it’s it’s so raw and honest but I like “Silkwood”, too and that’s by Nora Ephron. More whistleblower than union representative.

Host: Okay I don’t I’ve seen that one. No. Now i don’t think so no.

Rosanne: Yeah. Well you know you can’t find it streaming now. There’s some issue with whatever studio eventually owned it or the music rights to it. It’s Meryl Streep and Kurt Russell. Karen Silkwood was – worked in a nuclear power plant in the late 70s and she found them cutting corners that were dangerous and she was on her way to meet a New York Times reporter with paperwork showing what side cuts they were taking which would make things dangerous and her car unexplainably ran off the road, crashed into a tree, and she died and there were no papers found in her car when they found the body. So it’s always been a mystery but her and Kurt Russell are a couple and he works at the plant and Cher – it’s one of Cher’s early films and she got nominated for supporting actress Oscar but she didn’t win but it’s just a really well-written piece about this woman who’s kind of a goof-off but she has to get serious when she realizes this is bigger than her. It’s bigger than just I don’t want to be an unsafe place but what could happen if kind of thing. So that’s a really good movie. Nora Ephron.

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 chatted about my work with the Stephens College MFA in TV and Screenwriting, and then my work with co-editor Rose Ferrell on the Journal of Screenwriting’s special issue on Women in Screenwriting (Volume 11, Number 3) that came out recently and which featured articles about an international set of female screenwriters from Syria, Argentina, China and Canada (to name a few).

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.

RMW Rosanne Signature for Web

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With Intellect Books Editor James Campbell (@IntellectBooks)

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.

Journal of Screenwriting Cover

15 Nice Guys and Allies from When Men Forget Women: The Many Ways Male Screenwriters Fail to Mention their Female Colleagues [Video]

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”

15 Nice Guys and Allies  from When Men Forget Women: The Many Ways Male Screenwriters Fail to Mention their Female Colleagues [Video]

Transcript:

I very briefly want to be fair to all the lovely nice men in the world because they are –they do exist and they do credit the women in their lives. These husbands all – from Garson Kanin to Albert Hackett to John Gregory Dunn all credited their wives with equal or more work on all the projects they did together and you’ll recognize of course Garson Kanin and Ruth Gordon having done these films which won them all Academy Award nominations and Garson always talks about how much of a writer Ruth was even though we as a culture remember her as an actress but he does complain about the fact that they call it George Cukor’s “Adam’s Rib” when in fact much of the direction was written into the script by Garson and Ruth. Having been theater people they understood exactly where they wanted the camera to go, So they get erased by Cukor. Albert and Francis, of course, are brilliant. They wrote for almost 50 years in Hollywood but when you look at the posters of their work it’s the director Frank Capra who essentially erases them from the picture. Their names are down here very tiny and here’s the crazy thing about that. They also in their career are going to write “The Diary of Anne Frank” for which they’re going to get the Pulitzer Prize. Capra don’t have no Pulitzer Prize but it’s called Frank Capra’s “It’s A Wonderful Life” right? No thank you. They also wrote Nick and Nora Charles the real “The Thin Man” which is Nick and Nora Charles. I’m talking fast because I want to use up all my time. I’m sorry and that’s normally put off on Dashiell Hammett who wrote the novel but if you look at the movie the couple in the movie is actually Francis and Albert.

 

 


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Screenwriting Research Network Conversation #2 – Memories of Our Previous International Conferences [Video]

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.

All their info will help me in planning SRN 2023 on my home campus at Stephens College in Columbia, Missouri.

Screenwriting Research Network Conversation #2 – Memories of Our Previous International Conferences [Video]