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
MONICA
When you’re a kid, you see the life you want, and it never crosses your mind that it’s not gonna turn out that way.
I’m happy to announce the publication of a special issue of the Journal of Screenwriting focused on “Women in Screenwriting” that I co-edited with my SRN colleague Rose Ferrell, lecturer at the Western Australian Academy of Performing Arts, at Edith Cowan University.
While focusing on females was our first mandate, our second mandate was to be as international as possible. This issue, then, includes articles about women in screenwriting covering five continents including countries such as Japan, China, Syria, Argentina, Brazil, Peru, Zimbabwe and Canada. — Rosanne
Contents Volume (11): Issue (3) Cover date: 2020
Editorial introduction by Rose Ferrell, Rosanne Welch
Tang Cheng: The first female animation screenwriter and director in the People’s Republic of China by Shaopeng Chen
Scouting for scripts: Mizuki Yōko and social issue film in post-war Japan by Lauri Kitsnik
Who is the author of Neria (1992) – and is it a Zimbabwean masterpiece or a neo-colonial enterprise? by Agnieszka Piotrowska
The Hakawati’s Daughter: How the Syrian revolution inspired a rewrite by Rana Kazkaz
The silent women: The representation of Israeli female soldiers in Israeli women’s films by Mira Moshe, Matan Aharoni
How the scripts of Latin American screenwriters Lucrecia Martel (Argentina), Anna Muylaert (Brazil) and Claudia Llosa (Peru) have made a mark on the world stage by Margaret McVeigh, Clarissa Mazon Miranda
‘Polite, no chill’ for the win: How Emily Andras engaged fans and overcame problematic tropes in Wynonna Earp by Tanya N. Cook
Battle of the sketches: Short form and feminism in the comedy mode by Stayci Taylor
Anita Loos Rediscovered: Film Treatments and Fiction, Cari Beauchamp and Mary Anita Loos (eds) (2003) by Cierra Winkler
Modern Film Dramaturgy: An Introduction, Kristen Stutterheim (2019) by Andrew Wickwire
Nobody’s Girl Friday: The Women Who Ran Hollywood, J. E. Smyth (2018) by Toni Anita Hull
How to Write for Moving Pictures: A Manual of Instruction and Information, Marguerite Bertsch (1917) by Diane Barley
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 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
WAVERLY: “You don’t know the power you have over me. One word from you, one look, and I’m four years old again.”
“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
After graduating college, she worked at the Harvard Observatory and taught in private schools in the Boston area. In 1912, an astronomical fellowship was created for women to work at Maria Mitchell Observatory; Harwood was the first recipient of the fellowship, receiving $1,000.[2][3] In 1916, at 30 years old, Harwood was named director of Mitchell Observatory, and worked there from 1916 until her retirement in 1957.[2] Her specialty, photometry, involved measuring variation in the light of stars and asteroids, particularly that of the small planet Eros. A member of the American Astronomical Society and Fellow of the Royal Astronomical Society, she traveled widely in Europe and the United States. She was the first woman to gain access to the Mount Wilson Observatory, the world’s largest observatory at the time.[4]
In 1917, she discovered the asteroid 886 Washingtonia four days before its formal recognition by George Peters.[5] At the time, “senior people around her advised her not to report it as a new discovery because it was inappropriate that a woman should be thrust into the limelight with such a claim”.[6][7] However, Harwood did send her photographs of her discovery to Peters for him to include in his study of the asteroid’s orbit.[6] In 1960, an asteroid discovered at Palomar, was named in her honor, 7040 Harwood.[6][3]
“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
An Italian Baroque painter, Gentileschi began her careet at the age of 15, gained an international clientele, and was the first woman to become a member of the Accademia di Arte del Disegno in Florence (in the 1620s).
She is now considered one of the most accomplished seventeenth-century artists.
Artemisia Lomi or Artemisia Gentileschi (US: /ˌdʒɛntiˈlɛski/,[1][2] Italian: [arteˈmiːzja dʒentiˈleski]; July 8, 1593 – c. 1656) was an Italian Baroque painter, now considered one of the most accomplished seventeenth-century artists, initially working in the style of Caravaggio. She was producing professional work by the age of fifteen.[3] In an era when women had few opportunities to pursue artistic training or work as professional artists, Artemisia was the first woman to become a member of the Accademia di Arte del Disegno in Florence and she had an international clientele.[4][5]
Many of Artemisia’s paintings feature women from myths, allegories, and the Bible, including victims, suicides, and warriors.[6] Some of her best known subjects are Susanna and the Elders (particularly the 1610 version in Pommersfelden), Judith Slaying Holofernes (her 1614–1620 version is in the Uffizi gallery), and Judith and Her Maidservant (her version of 1625 is in the Detroit Institute of Arts).
Artemisia was known for being able to depict the female figure with great naturalism,[7][8] and for her skill in handling color to express dimension and drama.[9][10]
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
COLONEL BRANDON: “Give me an occupation, Miss Dashwood, or I shall run mad.”
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
It’s always nice to read a positive review of a newly published book so when the Kirkus Review of my new book on the life of Giuseppe Garibaldi said it was “A wonderfully researched and dramatically gripping work of historical fiction” I smiled.
Research IS my middle name these days and ‘gripping’ is what’s needed for the pace when one is documenting such an epic life so that it doesn’t feel like it is just meandering from battle to battle with no story growth.
The book gave me the chance to finally delve deeply into Garibaldi and Anita’s lives and come to a deeper understanding of the revolution that united Italy. — Rosanne
“A novelistic biography of the 19th-century Italian general who devoted his life to the unification of Italy.
Giuseppe Garibaldi was raised in Nice, an Italian territory in Piedmont held by the French. His mother nevertheless insisted, against convention, that he learn to read Italian and to zealously assert his independence. After an aborted attempt to follow in his father’s footsteps and become a sailor, Garibaldi joined the Young Italy movement under the direction of Giuseppe Mazzini and agitated for Italian independence. As a result, he was sentenced to death and was forced to flee to South America, an exile that lasted more than a decade.
While in Brazil, he discovered thousands of misplaced Italians, and he recruited them to participate in the Ragamuffin War to establish a republican experience that prepared him for the wars of independence in Italy later. Also, he fought in the Uruguayan civil war before finally returning to Italy intoxicated by the dream of Italian independence and unification—a devotion stirringly portrayed by Welch.
He formed a group of volunteers, called the Hunters of the Alps, to fight in the Second Italian War for Independence and later participated in the Expedition of the Thousand in Sicily, successfully establishing Victor Emmanuel II as king.
Welch’sresearch is impeccably rigorous. She captures the minute details of Garibaldi’s life, the machinations of military strategy of the period, and the atmosphere of both 19th-century Italy and South America. One could quibble that the accumulating, granular detail finally becomes daunting to digest. However, her prose is reliably lucid and sometimes achieves genuine poignancy, particularly in the representation of Garibaldi’s indefatigable fervor: “Italy will not truly exist as a nation until her flag, symbolizing the unity and freedom of the former Roman Empire, flies from the Capitol in Rome.
”A wonderfully researched and dramatically gripping work of historical fiction.” – Kirkus Reviews
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
“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
As one of the most prominent racing pilots of her generation Jackie Cochran pioneered women’s aviation. The head of the Women Airforce Service Pilots (WASP) during WWII she oversaw over 1000 civilian female pilots who ferried planes from factories to port cities and later became the first woman to break the sound barrier on 18 May 1953. She originally learned to fly in order to expand her sales area.
In the 1960s, Cochran was a sponsor of the Mercury 13 program, an early effort to test the ability of women to be astronauts. Thirteen women pilots passed the same preliminary tests as the male astronauts of the Mercury program before the program was cancelled.[40][41][42][N 2] It was never a NASA initiative, though it was spearheaded by two members of the NASA Life Sciences Committee, one of whom, William Randolph Lovelace II, was a close friend of Cochran and her husband. Though Cochran initially supported the program, she was later responsible for delaying further phases of testing, and letters from her to members of the Navy and NASA expressing concern over whether the program was to be run properly and in accordance with NASA goals may have significantly contributed to the eventual cancellation of the program. It is generally accepted that Cochran turned against the program out of concern that she would no longer be the most prominent female aviator.[43]
On 17 and 18 July 1962, Representative Victor Anfuso (D-NY) convened public hearings before a special Subcommittee of the House Committee on Science and Astronautics[44] to determine whether or not the exclusion of women from the astronaut program was discriminatory, during which John Glenn and Scott Carpenter testified against admitting women to the astronaut program. Cochran herself argued against bringing women into the space program, saying that time was of the essence, and moving forward as planned was the only way to beat the Soviets in the Space Race. (None of the women who had passed the tests were military jet test pilots, nor did they have engineering degrees, which were the two basic experiential qualifications for potential astronauts. Women were not allowed to be military jet test pilots at that time. On average, however, they all had more flight experience than the male astronauts.) “NASA required all astronauts to be graduates of military jet test piloting programs and have engineering degrees. In 1962, no women could meet these requirements.” This ended the Mercury 13 program.[45] However, John Glenn and Scott Carpenter, who were part of the Mercury 7, also did not have engineering degrees when they were selected. Both of them were granted a degree after their flights for NASA. [46] [47]
Significantly, the hearings investigated the possibility of gender discrimination a two full years before the Civil Rights Act of 1964 made that illegal, making these hearings a marker of how ideas about women’s rights permeated political discourse even before they were enshrined in law.[45]
