Screenwriting – Page 28 – On Screenwriting and Media with Dr. Rosanne Welch

51 Teacher Make Good Writers from There And Back Again: Writing and Developing for American TV [Video]

Thanks to the gracious invitation from my Screenwriting Research Network colleague Paolo Russo – and a grant he was able to procure (and in the before-Covid time) I was able to spend a week at Oxford Brookes University working with the screenwriting masters students in Paolo’s course. At the culmination of the week, I gave this lecture on how writers rooms worked in the States.

Transcript:

For me, teachers make good writers. Right? Obviously Icatered this to where I have come and been happy to be. I actually — went too fast — this was my facebook post the other day. I don’t like a lot of words on the screen but I couldn’t resist this because I’ve never been to Oxford before.

So I found this little church just off Wharton Road where he was once a congregant and I had to find the picture and send it back to my husband and the cat just found me which I thought was cute but seriously I mean how long has the guy been dead and I’m still fascinated by the things he wrote? They still mean something to me and my family. Likewise, writers make good teachers.

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12 Here Comes Judy…from “Female Creatives & A Star Is Born” [Video]

Transcript:

1937. Huge Movie. It winds awards. It has everyone paying attention. Janet Gaynor is a very important actress. So, it’s a big deal. 1954 comes around. There is a movie we can remake and remember that in the era when they were remaking these films, there were no DVDs. There was no streaming. The film was done after it played in a theater for 2 weeks or 10 weeks — however successful it was. You would never see that film again. 1954. There’s no TV reruns of that film. That’s it. If your mother saw it in ’37, that’s it. Nobody has seen it since then. So remaking a movie made some sense. So, we’re going to come into this with a guy named Moss Hart. He’s a very famous Broadway playwright. He worked with George S. Kaufman, but he also worked on his own and he is invited to come and re-do this for Judy Garland as the star and it’s going to be a comeback film. She’s had trouble (Oh no) with drugs and alcohol AND it’s affected her career. So she needs a big vehicle and this is recognized as a showpiece for a female performer, but she’s Judy Garland, so we’ve got to change something.

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Connections at conferences matter! Through the most recent SCMS, I met Vicki Callahan, whose film history focus right now is on Mabel Normand. When she learned I could put together a lecture on the importance of the female voice in the A Star is Born franchise she asked me to give that lecture to her master students.

It made for a great opportunity for me to hone the ideas I’m working on for a chapter on that franchise that I’m writing for a new book from Bloomsbury: The Bloomsbury Handbook Of International Screenplay Theory. It’s always nice when one piece of research can be purposed in other ways – and it’s always fun revisiting such a female-centric film franchise – one that drew the talents of such powerful performers as Janet Gaynor, Judy Garland, Barbara Streisand, and Lady Gaga.

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From The Journal Of Screenwriting V6 Issue 2: Judging authorship in divided cultural work: Broadcast series formats in mid-century idea law by Josh Heuman

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

Judging authorship in divided cultural work: Broadcast series formats in mid-century idea law by Josh Heuman

In the mid-twentieth century, US courts and legal commentators confronted increasingly prominent problems of idea protection. While not unique in raising such problems, the maturing radio and television broadcasting industry intensified and complicated them – in the unruliness of its idea markets, and the distinctive relation between idea and expression implied in broadcast series formats. Idea law offers a revealing scene of discourse about mid-century broadcast writing – a scene for making sense and value from often ambiguous and ambivalent writing practices. In particular, problems of idea protection and copyright’s idea–expression dichotomy draw out tensions across divisions of writing labour. This article explores how mid-century idea law struggled to account for the economic and cultural value of ideas, in arguments that compose particular but provocative discourses about broadcast authorship. It also points towards some of the broader interest of those arguments – as a particular case study in the fragmentation of authorship, and as a provocative but neglected antecedent for contemporary concerns like amateur participation, recombinatory creativity and even the ‘creative economy’.

From The Journal Of Screenwriting V6 Issue 2: Judging authorship in divided cultural work: Broadcast series formats in mid-century idea law by Josh Heuman

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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11 More on Dorothy Parker’s Voice from “Female Creatives & A Star Is Born” [Video]

Transcript:

I think you’ll notice also in the lines here, this is a great bit —

“How’s your luck?

There wasn’t any.

Maybe you don’t do it right. No, take Danny McGuire here. He knows the ropes, don’t you, Danny?

Sure. Had ’em around my neck for years.”

She’s always thinking about suicide. Sadly. She’s always thinking about ways to kill yourself and this is best evidenced in this poem that she’s famous for. I don’t know if you’ve ever seen it before. You’re probably reading it to yourself right now, so I shall not read it out loud but it is quite brilliant, and look what she’s focusing on and that’s her “resume.” Think about the title and think about the words there and how they come across inside A Star Is Born.”

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Why Torchwood Still Matters with Dr. Rosanne Welch (Complete), San Diego Who Con 2021 [Video]

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.

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From The Journal Of Screenwriting V6 Issue 1: Shaping the documentary subject: Writing and visualizing the documentary and media art script by Janet Merewether

Shaping the documentary subject: Writing and visualizing the documentary and media art script by Janet Merewether

This article seeks to examine the varied modes of writing employed by documentary filmmakers and media artists, who may, as an alternative to a conventional ‘script’, devise a framework of intent, or a ‘working hypothesis’ in order to constitute or determine the underlying structure of the temporal work. Fiction and non-fiction screenwriter/directors regularly focus on the subjects of human mortality, yet the process of shaping a script differs for the documentary author in that they may choose, or seek to, film the actual lives of trauma victims or terminally ill subjects. This article will examine how a documentary writer/director undertakes the relatively analytical processes of screenwriting and film structuring, whilst simultaneously experiencing a premonition of loss and uncertainty as to future events. Is it possible that filmmaking and autobiographical writing, as documentarian Ross McElwee (Time Indefinite, 1993) suggests, in their attempts to confront death directly, are ‘just another denial of death-a way of distracting the filmmaker from dealing with death and then getting on with life’? Incorporating case studies of several of my own hybrid documentary films and digital artworks, I intend to examine some of the ethical, temporal, screenwriting and directorial issues that arise when selecting, filming and editing the lives of social actors or documentary participants. This article will discuss the key question: what can and do documentary and media art ‘scripts’ look like? How stylistically diverse can they be, in response to the director’s framework of intent, or the idiosyncratic qualities of the participant selected?

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From Classroom To Writer’s Room with Dr. Rosanne Welch on In The Can w/Lucas Cuny [Audio]

It was a pleasure sitting down in front of some microphones with Lucas Cuny who now teaches Film, TV, and media full time at San Bernardino Valley College.

He also hosts this podcast interviewing people from those areas and he invited me to be the first guest of his second season.

We had the chance to chat about my background as well as the state of the media industry today – and I had the chance to relish the success of this former MFA candidate of mine. One of the best things about being a professor is seeing careers take off like Lucas’ has.

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Episode Description

Rosanne Welch is a screenwriter, author, professor, and all around iconoclast in the field of media education. She wrote on Beverly Hills 90210, written a book about The Monkees, but got her start as a teacher. Hear her journey from the classroom to the writers room.

Lucas Cuny and Dr. Rosanne Welch

From The Journal Of Screenwriting V6 Issue 1: Cargo cults: Key moments in establishing screenwriting in the New Zealand Film Commission by Hester Joyce

Cargo cults: Key moments in establishing screenwriting in the New Zealand Film Commission by Hester Joyce

The New Zealand Film Commission (NZFC), a government-supported film industry funding agency founded in 1978, is directed ‘to encourage and also to participate and assist in the making, promotion, distribution and exhibition of films’. In the late 1980s the NZFC, in an attempt to capture a larger international audience for New Zealand-domiciled films, focused attention on screenwriting and screenplay development practices within the local industry. A rigorous training programme of seminar tours from Hollywood-industry script consultants, including seminars from Robert McKee and Linda Seger, followed. This article surveys key moments in this training process, the uptake of McKee and Seger’s screenplay analysis methods, and discusses the effects of these targeted initiatives on the screenwriting and development practices within the government-supported film industry through the late 1980s and early 1990s.

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10 Dorothy Parker’s Voice from “Female Creatives & A Star Is Born” [Video]

Transcript:

Of course, she has tons of acerbic wit. That’s her thing and in many ways, this is a Shakespearean tragedy, as all her poems are. So I think all of that speaks to her as the major writer behind this version of the film. The other guys came in, they did some stuff but I don’t see evidence of their lives on screen in the way that I see hers. Lines in this piece that she’s written are so clearly things that could come out of her very own poems. I love all of these. This is probably my favorite. “His work was beginning to interfere with his drinking.” She was always very blase about alcoholism and it’s something that she suffered from herself. This is a great one when they put him in the asylum, you know for taking care of his drinking — “They have iron bars in the windows to keep out the draft.” I mean how sarcastic and snotty can you be when you’re trying not to admit you’ve been put in a place you can’t sign your way out of until you clean up and then the heartbreak comes out of this — “For every dream of yours that may come true, you’ll pay the price in heartbreak.” So even if you’re going to get what you want, you won’t have everything and that is kind of a message of her life right? She never quite got everything that she dreamed of.

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On The Writers of Doctor Who: Maxine Alderton and The Haunting of the Villa Diodati

While preparation for some lectures I was giving at the San Diego Who Con (a small and friendly, all vaxxed and masked politely convention celebrating the English sci-fi drama Doctor Who) I researched how the new showrunner, Chris Chibnall, turned the 50 year old character into a female (long story unless you know the show).

That lead me to researching the writers he chose for the last two seasons to bring more diverse stories to the show.

On The Writers of Doctor Who: Maxine Alderton and The Haunting of the Villa Diodati

One such story, The Haunting of the Villa Diodati, written by Maxine Alderton, involved meeting Mary Woolstencroft on the weekend of inventing Frankenstein. For that I found this post about the importance of writing soaps and how, because so many women do it, it has often been dismissed as lesser writing – but in fact, of course, it is not. I think it is yet another area of bias against female writers that needs to be quashed.

Maxie Alderton joins the world of Doctor Who this Sunday, far from her usual stomping ground of Emmerdale. But as the architect of some of the soap opera’s most innovative and exciting episodes of the past decade, she’s a name to watch

At first glance Maxine Alderton, writer of The Haunting of Villa Diodati, seems like a strange fit for Doctor Who. After all, of the new writers to join the Doctor Who team this season, she easily has the least background in science fiction and fantasy. And her main track record so far has been across the Yorkshire Dales for popular soap opera Emmerdale. But as soon as you scratch the surface she quickly emerges as an exciting and dynamic writer. One showing every sign of bringing something very special to Doctor Who indeed.

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