Screenwriting – Page 69 – On Screenwriting and Media with Dr. Rosanne Welch

Journal of Screenwriting 10.3 is now available (Historiographic Research in Screenwriting Special Issue)

I’m always happy to announce the latest issues of the Journal of Screenwriting and 10.3 — a Special Issue discussing ‘Historiographic Research in Screenwriting’ — is now available!

For me, as Book Reviews editor it’s especially nice to note that 2 alums of the Stephens College MFA in TV and Screenwriting program, one current student and Friend of the Program Anna Weinstein are among the reviewers of books this month, with current MFA candidate CJ Ehrlich having reviewed a text used in our History of Screenwriting courses – Tom Stempel’s Framework.

Does your college library have a subscription? Order one today to read all these reviews PLUS the articles noted below:

Crash! Boom! Bang! How to Write Action Movies, Michael Lucker (2017)

JENNIFER ANNE MARTIN

Words in Action: Forms and Techniques of Film Dialogue, Paolo Braga (2015)

JACKIE PEREZ

Off the Page: Screenwriting in the Era of Media Convergence, Daniel Bernardi and Julian Hoxter (2017)

ANNA WEINSTEIN

FrameWork: A History of Screenwriting in the American Film, 3rd ed., Tom Stempel (2000)

C. J. EHRLICH

For more information about the special issue and journal, click here >> https://www.intellectbooks.com/journal-of-screenwriting

Issue 10.3 Included:

Editorial

STEVEN PRICE AND CLAUS TIEBER

Articles

Die Filmprimadonna (The Film Primadonna, 1913): A case study of the fiction of a screenplay and the process of filmmaking in German early cinema

JAN HENSCHEN

Once again into the cabinets of Dr. Caligari: Evil spaces and hidden sources of the Caligari screenplay

ALEXANDRA KSENOFONTOVA

Reel by reel: Jan Stanislav Kolár’s narrative poetics in the context of transition to feature-length format in Czech silent cinema

MARTIN KOS

Walter Reisch: The musical writer

CLAUS TIEBER

Network television writers and the ‘race problems’ of 1968

CARYN MURPHY

From dialogue writer to screenwriter: Pier Paolo Pasolini at work for Federico Fellini

CLAUDIA ROMANELLI

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!

Join me at the Screenwriting Research Network’s Annual Conference in Oxford, UK

* 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 V10 Issue 1: Colonizing, decolonizing: Bad-faith liberalism and African space colonialism in Doris Lessing’s screenplay The White Princess By James Arnett

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

Colonizing, decolonizing: Bad-faith liberalism and African space colonialism in Doris Lessing’s screenplay The White Princess
By James Arnett

Although Doris Lessing frequently wrote about Africa over the course of her career, and her relationship to colonialism is undeniably critical, changing theoretical paradigms have complicated readings of her anticolonial critique. From a treasure trove of unpublished African material contained in her papers at the Harry Ransom Center Archives at the University of Texas, this article looks at one of her unpublished screenplays, The White Princess, as a complex and fraught attempt to generate an ethos of decolonization well in advance of its contemporary, post-postcolonial preeminence in twenty-first-century theoretical discourse. Lessing’s positing of a speculative future African recolonization of Britain would have emerged into a smattering of British speculative fictions of the late 1960s and 1970s that likewise imagined African colonialism, but did so, this article argues, hampered by a bad-faith liberalism. Despite the subversive potential of exploring inverted colonial dynamics, this article argues that Lessing ultimately cannot break free of generic conventions, political and theoretical limitations, or colonial discursive structures to achieve real decolonization work in The White Princess – although she may succeed elsewhere in her oeuvre.

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

Join me at the Screenwriting Research Network’s Annual Conference in Oxford, UK

* 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!

Krista Dyson, Stephens College MFA in TV and Screenwriting Alumni, wins Buffy for Best Documentary at the 2019 Tampa Bay Underground Film Festival

Congratulations Krista Dyson (Stephens College MFA in TV and Screenwriting Class of 2018), co-producer on “When All That’s Left Is Love” which won the Buffy for Best Documentary at the 2019 Tampa Bay Underground Film Festival.

This feature-length documentary goes behind closed doors with Alzheimer’s caregivers. Dyson worked on the film while she was completing the MFA program.

“I feel like I earned two MFAs, between the writing program and the work I did on this project… Our goal was to allow the audience to truly understand what a complex and difficult situation exists for caregivers.”

Stephens College MFA Alums are Active Achievers!

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New Essay Published: The Twenty-First-Century Western: New Riders of the Cinematic Stage

Once again I’m happy to have co-written a chapter with editor Doug Brode. — Westward Ho! The Women!: Frontier Females in Postfeminist Films

Our first was collaboration came in The American Civil War on Film and TV: Blue and Gray in Black and White and Color – this one gave me a chance to analyze female characters in westerns produced after 2000.

Sadly, you’d think their new-ness would have made for more interesting, nuanced female characters but, as I say in the chapter, the most well-rounded, honest and real representations of females in westerns in the (supposedly) 21st century came from one of the youngest characters (Mattie Ross in True Grit) and from one of the animated characters, who is not even a female human, but a female lizard (Beans in Rango). And once again, as I am finding more and more, whether the screenwriter was female or male often made a difference.

Focusing on twenty-first century Western films, including all major releases since the turn of the century, the essays in this volume cover a broad range of aesthetic and thematic aspects explored in these films, including gender and race. As diverse contributors focus on the individual subgenres of the traditional Western (the gunfighter, the Cavalry vs. Native American conflict, the role of women in Westerns, etc.), they share an understanding of the twenty-first century Western may be understood as a genre in itself. They argue that the films discussed here reimagine certain aspects of the more conventional Western and often reverse the ideology contained within them while employing certain forms and clichés that have become synonymous internationally with Westerns. The result is a contemporary sensibility that might be referred to as the postmodern Western.

From The “When Women Wrote Hollywood Archives 07: “Frederica Sagor Maas, Hollywood’s ‘Shocking Miss Pilgrim'” The Forward.

Months of research went into the creation of the essays in “When Women Wrote Hollywood.” Here are some of the resources used to enlighten today’s film lovers to the female pioneers who helped create it.

From The “When Women Wrote Hollywood Archives 07: “Frederica Sagor Maas, Hollywood’s ‘Shocking Miss Pilgrim'” The Forward.

Read From The “When Women Wrote Hollywood Archives 07: “Frederica Sagor Maas, Hollywood’s ‘Shocking Miss Pilgrim'” The Forward.

Buy “When Women Wrote Hollywood” Today!

†

Paperback Edition | Kindle Edition | Google Play Edition

* 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!
† Available from the LA Public Library

From The Journal Of Screenwriting V10 Issue 1: Creative resistance tactics in the work of English Canadian screenwriters by Kerry McArthur

Creative resistance tactics in the work of English Canadian screenwriters by Kerry McArthur

This article analyses how eight successful English Canadian screenwriters negotiate various norms of screenwriting practice, in particular the criteria for three-act structure, character development and closure as advocated by Hollywood. The writers discuss their interpretations of what they consider essential narrative elements in screenplay projects, while dismissing other edicts of the screenwriting industry. Analysis of interview transcripts reveals that most of these writers take their inspiration from their own experience of screenwriting and their interpretations of other screenplays and historic texts on narrative rather than from contemporary screenwriting textbooks. The focus for almost all of these screenwriters is on writing screen stories in original ways, rather than adopting standardized narrative directives, even when elements of these directives have their uses.

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

Join me at the Screenwriting Research Network’s Annual Conference in Oxford, UK

* 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!

#MentorMonday 8 – Dawn Comer Jefferson – Stephens College MFA in TV and Screenwriting

Dawn Comer Jefferson is our Stephens College MFA in TV and Screenwriting #mentormonday spotlight this week!

Dawn is an Emmy-nominated, award-winning writer. On television, Comer Jefferson wrote on the CBS family drama Judging Amy, served as writer/consulting producer on MTV’s teen drama, South of Nowhere, freelanced on the CBS hit NCIS, and developed a drama pilot at NBC Universal Studios. She was nominated for an Emmy for writing the Fox-animated family film, Our Friend, Martin, and for the last nine years has written Emmy-winning arts programming for PBS, performed at the Walt Disney Concert Hall and the Dorothy Chandler Pavilion.

As a non-fiction writer, Comer Jefferson has written about children, families and public policy issues for national print and online media including Garnet News, Working Mother, Fit Pregnancy Magazine and MomsRising, and her essays have been featured in the anthologies A Woman Alone (Seal Press) and Go Girl (Eighth Mountain Press). She adapted, produced and directed the eight-part NPR radio series adaptation of the biography Maggie’s American Dream, co-wrote the nonfiction book Three Ring Circus: How Real Couples Balance Marriage, Work, and Family, and the African American historical children’s fiction, The Promise.

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From The “When Women Wrote Hollywood Archives 05: Clip from Don Juan (1926) Written by Bess Meredyth

Don Juan is a 1926 American romantic Adventure film directed by Alan Crosland. It is the first feature-length film to utilize the Vitaphone sound-on-disc sound system with a synchronized musical score and sound effects, though it has no spoken dialogue.^[4] The film is inspired by Lord Byron‘s 1821 epic poem of the same name. The screenplay was written by Bess Meredyth with intertitles by Maude Fulton and Walter Anthony.^[5]

Don Juan stars John Barrymore as the hand-kissing womanizer.^[5] The film has the most kisses in film history, with Barrymore kissing (all together) Mary Astor and Estelle Taylor 127 times.^{[6] — Wikipedia}

Buy “When Women Wrote Hollywood” Today!

†

Paperback Edition | Kindle Edition | Google Play Edition

* 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!
† Available from the LA Public Library

Hjem til jul (Home For Christmas)

In my journey to watch television from other countries thanks to Netflix (hence ‘Samantha!’ and ‘Sintonia‘ from Brazil which I recommended here a bit ago) I’ve stumbled on a 6 episode 30 minute Norwegian comedy (with heart) about a single female nurse from a big family who pretends she’ll be bringing a boyfriend to Christmas Eve – and hen tries hard to find one.

I suggest watching it in the original language and reading the subtitles as it sounds so much more natural. You find it on Netflix under the Norwegian title – Hjem til jul, which means “Home for Christmas”. The last episode made me cry – the good kind of natural cry, not a forced one.

Everyone else is loved up, matched up and ready to hit those family dinners this Christmas season. Everyone that is, except Johanne. Determined to fend off those prying questions on her love life, Johanne sets off to find the perfect date for Christmas.
Netflix

From The Journal Of Screenwriting V10 Issue 1: An insider perspective on the script in practice by Vincenzo Giarrusso

An insider perspective on the script in practice by Vincenzo Giarrusso

The machinations of industry, the exigencies of film funding and the producer’s prominent role in setting fiscal and marketing objectives for film production seem incongruous with scriptwriting as a generative creative practice in the filmmaking process. This article presents a case study that investigates the agency of creative practice from the insider perspective of a scriptwriter. In mobilizing the concept of the boundary object, the case links the problematic and transitional status of the script – as it passes out of the hands of the writer – to other roles under the control of filmmaking practitioners. In combining a practice-based reflexive narrative with theoretical observations, the article explores the processes and imperatives that mediate the script and scriptwriting as an embodied experience for the scriptwriter.

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

Join me at the Screenwriting Research Network’s Annual Conference in Oxford, UK

* 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!