From The Journal Of Screenwriting V5 Issue 1: Screenwriting and emotional rhythm by Ian David

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


Screenwriting and emotional rhythm by Ian David

Recent advances in neuroscience have begun to unravel the part played by emotion in decision-making and creativity. All storytellers rely on emotion, but the screenwriter, conveying the essential narrative and technical information required to make a film, carries a unique burden. Screenplays must act as a bridge from the author to the audience, describing the narrative’s capacity to evoke emotion through action and image. In discussing a screenplay, the narrative is usually assessed in terms of its characters, plot, subplots, theme, dialogue, tone, style, etc. Yet, emotion, the quality that determines the screenplay’s (and ultimately the film’s) overall effect, is often poorly understood. This paper proposes Emotional Rhythm – that subliminal sequence of emotions underpinning all the dramatic components – as a means of evaluating the screenplay’s potency as it relates to the construction of the narrative.

From The Journal Of Screenwriting V5 Issue 1: Screenwriting and emotional rhythm by Ian David


Journal of Screenwriting Cover

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. 

Get your copy and subscription to the Journal of Screenwriting Today!



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** Many of these books may be available from your local library. Check it out!

An update – Thanks for 2600+, Find videos on YouTube, and San Diego Who Con talks announced via TikTok [Video]

@drrosannewelch

An update – Thanks for 2600+, Find videos on YouTube, and San Diego Who Can talks announced ##doctorwho ##whocon ##screenwriting ##thanks

♬ Doctor Who (Main Theme) – TV Generation

An update - Thanks for 2600+, Find videos on YouTube, and San Diego Who Can talks announced via TikTok [Video]

13 Something’s missing in writer’s rooms from How The Chaos Of Collaboration in the Writers Room Created Golden Age Television [Video]

With the full recording of “How The Chaos Of Collaboration in the Writers Room Created Golden Age Television”

13 Something's missing in writer's rooms from How The Chaos Of Collaboration in the Writers Room Created Golden Age Television [Video]

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When the folks hosting the conference announced their theme as “Screen Narratives: Chaos and Order” the word ‘chaos’ immediately brought to mind writers rooms. I offered a quick history of writers rooms (the presentations are only 20 minutes long) and then quoted several current showrunners on how they compose their rooms and how they run them.

Transcript

Something’s missing in these early writer’s rooms. What’s — who’s not in that picture? Audience: Women. Uh-hum. it’s kind of obvious, you know, so we had these shows that we admire greatly but they didn’t have a female perspective. Hello? They were missing and their opinion is missing and I think that’s a problem. But then along came Buffy and Buffy had a staff that included many female writers — some of whom are now credited with giving it the feminist bent that it had. Joss Whedon may have started the show but now we also know that — like Woody Allen — there are things we don’t like about him. So it seems it was the women on the staff who maintained that feminist idea right up to the point where they credited the first lesbian couple on television, Tara and Willow — and that was a big step in American television. So, Buffy’s a big step. Now, here we have a room for Orange is the New Black, which has many females, but it’s missing something different. Audience: People of color. A person of color, exactly, and yet the show itself was filled with women of color as characters. So, again, we have to address that issue. We’re not getting all the perspectives we can.

For more information on the Screenwriting Research Network, visit

Screenwriting Research Network Conference, Porto, Portugal, All Sessions


Ready to present my talk yesterday at the Screenwriting Research Conference here in Porto, Portugal via Instagram

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A Woman Wrote That – 29 in a series – You’ve Got Mail (1998), Writer: Nora Ephron

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

A Woman Wrote That - 29 in a series - You've Got Mail (1998), Writer: Nora Ephron

JOE

 

Don’t you love New York in the fall? It makes me wanna buy school supplies. I would send you a bouquet of newly sharpened pencils if I knew your name and address.

Dr. Rosanne Welch Speaks at the 2021 Stephens College MFA in TV & Screenwriting Commencement [Video]

Dr. Rosanne Welch gave the welcoming remarks at this year’s commencement ceremonies for the Stephens College MFA in TV and Screenwriting for the Class of 2021, reminding everyone of the program’s motto:  Write. Reach. Represent.

Dr. Rosanne Welch Speaks at the 2021 Stephens College MFA in TV & Screenwriting Commencement [Video]

From The Journal Of Screenwriting V5 Issue 1: Where are you from? Place as a form of scripting in independent cinema by J. J. Murphy

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


Where are you from? Place as a form of scripting in independent cinema by J. J. Murphy
 
Large-budget Hollywood studio productions generally prefer a high level of fabrication in creating a film’s setting, either through the building of sets or through special effects, because it gives the production team greater control. Yet that’s often been less true of indie films historically. For a variety of reasons, the setting or location of independent films often becomes a central part of the scripting of a film. It is obviously cheaper to use what already exists in reality rather than to attempt to create a location through set design or art direction. Beyond issues of budget, however, my interest here is in exploring how ‘place’ can actually function as a key element in the scripting process, especially one that is rooted in visual storytelling, by taking into account the myriad ways that a film’s setting can contribute to and enhance the narrative beyond the use of generic, decorative or touristic locations. Using examples drawn from independent cinema, the article argues that place can have an intrinsic, integrative, stylistic, structural, conceptual and thematic function.

From The Journal Of Screenwriting V5 Issue 1: Where are you from? Place as a form of scripting in independent cinema by J. J. Murphy


Journal of Screenwriting Cover

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. 

Get your copy and subscription to the Journal of Screenwriting Today!



* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!

TikTok Response to comment from @itsmeimgarbage : Polly Platt [Video]

@drrosannewelch

Response to @itsmeimgarbage : Polly Platt ##screenwriting ##movies ##history ##women ##lastpictureshow ##film

♬ original sound – Dr. Rosanne Welch


TikTok Response to comment from @itsmeimgarbage : Polly Platt [Video]

A Woman Wrote That – 28 in a series – The Birdcage (1996), Witten by Elaine May

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

A Woman Wrote That - 28 in a series - The Birdcage (1996), Witten by Elaine May

ALBERT

There’s no need to get hysterical. All I have to remember is I can always get more toast.

12 Kenny Johnson from How The Chaos Of Collaboration in the Writers Room Created Golden Age Television [Video]

With the full recording of “How The Chaos Of Collaboration in the Writers Room Created Golden Age Television”

 from How The Chaos Of Collaboration in the Writers Room Created Golden Age Television [Video]

Subscribe to Rosanne’s Channel and receive notice of each new video!

 

 

When the folks hosting the conference announced their theme as “Screen Narratives: Chaos and Order” the word ‘chaos’ immediately brought to mind writers rooms. I offered a quick history of writers rooms (the presentations are only 20 minutes long) and then quoted several current showrunners on how they compose their rooms and how they run them.

Transcript

Kenny Johnson brought science fiction more seriousness, right? So he started The Bionic Woman. He moved on to The Incredible Hulk, then V, and then Alien Nation. A beautiful show about an alien nation and assimilation into new cultures all done through science fiction. So he brought social justice to science fiction and that was a very distinct way that his voice worked. I got to be his assistant for a while.

For more information on the Screenwriting Research Network, visit

Screenwriting Research Network Conference, Porto, Portugal, All Sessions


Ready to present my talk yesterday at the Screenwriting Research Conference here in Porto, Portugal via Instagram

Follow me on Instagram



* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!

From The Journal Of Screenwriting V5 Issue 1: Where do cinematic ideas come from? by Adrian Martin

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


Where do cinematic ideas come from? by Adrian Martin

This essay explores the concept of a cinematic idea. How does it originate, and how can it shape, on every level, the construction of a film? Making special reference to filmmakers’ documents (as an instance of genetic criticism), the essay offers a case study of Leos Carax’s Holy Motors.

From The Journal Of Screenwriting V5 Issue 1: Where do cinematic ideas come from? by Adrian Martin


Journal of Screenwriting Cover

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. 

Get your copy and subscription to the Journal of Screenwriting Today!



* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!