Category: Screenwriting

A Woman’s Life – and a Story – Meant for the Movie – Dr. Rosanne Welch, Script Magazine, December 2022

A Woman’s Life – and a Story - Meant for the Movie – Dr. Rosanne Welch, Script Magazine, December 2022
Script contributor Dr. Rosanne Welch celebrates the female screenwriters who came before us with this month’s spotlight on prolific screenwriter and author Lorna Moon. Between her start as a Scottish author to her time as a Hollywood screenwriter Lorna Moon lived a life meant for the movies, yet no one has tackled her bio-pic yet.

Read A Woman’s Life – and a Story – Meant for the Movie

Read about more women from early Hollywood

 

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New Book Available: American Women’s History on Film – Hollywood History Series #2 – Dr. Rosanne Welch and Dr. Peg Lamphier

It never grows old… today the 2nd book in the Hollywood History series that I co-wrote with my dear friend and colleague, Peg Lamphier, arrived on my doorstep. American Women’s History on Film covers 10 films that focus on some area of women’s history, usually through the eyes of a bio-pic since that is mostly the way women’s history is told.

New Book Available: American Women’s History on Film - Hollywood History Series #2

American Women’s History on Film is part of the Hollywood History series from ABC-Clio that included our earlier title The Civil War on Film. What’s been most fun about being part of this project has been the perfect way it split between my and Peg’s specialties. She is a Civil War historian, and my specialty is Screenwriting Studies — together we are both women’s history professors – so each book focused on an area in which one of us had perfect expertise.

Hollywood History Civil War On Film cover

As well, we learned from earlier books that we had to be very specific about the cover art we wanted on each of these books – that it should have a female presence on the Civil War book (since the assumption was they’d choose some photo of male soldiers on a battlefield) so for that book, they gave us a photo including Sally Field playing Mary Todd Lincoln beside Daniel Day Lewis in Lincoln. For the current book, we were even more specific and requested women of color – and they gave us this lovely photo from Hidden Figures.

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09 More On Neo-realism and Black Cinema From Jeanne to Suso to Julie to Spike: How Jeanne Macpherson’s Manual on Screenwriting Influenced Italian Realism which Influenced Black Independent Film in the U.S. [Video]

09 More On Neo-realism and Black Cinema From Jeanne to Suso to Julie to Spike: How Jeanne Macpherson’s Manual on Screenwriting Influenced Italian Realism which Influenced Black Independent Film in the U.S. [Video]

Transcript:

“Nothing But A Man” deals with this really in a way we hadn’t seen before. Then we get into “The Cool World” and this is now the first time we’ve seen sort of gang life and it’s not glorified and it’s not beautiful. This is a very sad version of this is all I have to make money. This is all I can do to survive. Which is very post-war and Italy except there’s no war here. Except the constant war that had been fought against African Americans from the very beginning right? So thinking about the trauma of it and all those things being reflected and always there’s youth in these movies to see how that trauma affects yet the Next Generation and again and again. Which I think I see a lot in “Rome Open City.” Then we get Melvin Van Peebles coming along with “Sweet Sweetbacks Badassssss Song” and suddenly we have auteurs in the black theater rebellion and that’s kind of a fascinating new idea. He breaks out into more mainstream. People know who he is. He’s the beginning of a kind of a dynasty because his son Mario also becomes a filmmaker and that’s the first time that we’ve seen that opportunity.

Watch this entire presentation

At the recent Screenwriting Research Network conference in Vienna, I gave this talk titled “From Jeanne to Suso to Julie to Spike: How Jeanne Macpherson’s Manual on Screenwriting Influenced Italian Realism which Influenced Black Independent Film in the U.S.”

In the talk, I trace the ways a manual about screenwriting by silent film writer Jeanne Macpherson influenced Suso Cecchi d’Amici who began to utilize Macpherson’s ideas and became the queen of Italian neorealism screenwriting in Europe. Then those Italian neo-realist screenwriters in turn inspired the Los Angeles School of Black Independent Film Makers (the L.A. School). In turn, such as Charles Burnett, Billy Woodberry, Haile Gerima, and Julie Dash and their ideas fueled Spike Lee. Finally, when he became the first Black man to head the jury at the Cannes Film Festival (where Suso had once served) his choice of films influenced yet another generation of screenwriters.

From Jeanne to Suso to Julie to Spike: How Jeanne Macpherson’s Manual on Screenwriting Influenced Italian Realism which Influenced Black Independent Film in the U.S. (Complete)

Podcast: Play in new window | Download

Subscribe: RSS

Related posts:

  1. From Jeanne to Suso to Julie to Spike: How Jeanne Macpherson’s Manual on Screenwriting Influenced Italian Realism which Influenced Black Independent Film in the U.S. (Complete)
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A new review of “When Women Wrote Hollywood”

It’s been 4 years since publication of ‘When Women Wrote Hollywood’, a collection of essays by the inaugural class of the Stephens College MFA in TV and Screenwriting but reviews continue to arrive in our inbox including this one today:

“WHEN WOMEN WROTE HOLLYWOOD” is a collection of more than 20 essays focusing on the lives of female screenwriters of the Golden Age of Hollywood. Their writings helped create unforgettable stories and characters beloved by audiences to this 2022 year. Whoever heard of Ida May Park, Eve Unsell, Gene Gauntier, Lillian Hellman, Adela Rogers St. Johns, Anita Loos, let alone what they wrote. Absolutely a must read for the serious Hollywood buff, or student of cinema resolute in finding a career in the motion picture industry.”

ARGunners

Many congratulations to all the writers who contributed to this volume. It is a staple of the History of Screenwriting courses in our Stephens College MFA in TV and Screenwriting – and at a few other schools as I’ve been told.

Perhaps a sequel is in order…?

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08 Neo-realism and Black Cinema From Jeanne to Suso to Julie to Spike: How Jeanne Macpherson’s Manual on Screenwriting Influenced Italian Realism which Influenced Black Independent Film in the U.S. [Video]

08 Neo-realism and Black Cinema From Jeanne to Suso to Julie to Spike: How Jeanne Macpherson’s Manual on Screenwriting Influenced Italian Realism which Influenced Black Independent Film in the U.S. [Video]

Transcript:

So it’s been really important to reincorporate these movies into and to see the progression of how they fit into International World Cinema. I think that’s really important. So I’m starting with “Nothing But A Man” which is a beautiful film interestingly enough made by not an African-American filmmaker but considered to have captured the struggle quite well. In this Ivan Dixon plays a railroad worker and he just moves from state to state avoiding the Jim Crow South. Trying to avoid the treatment that he would receive if he settled into any of these locations but you see him receive the treatment. So we’re dealing with the underpinning of how Americans are treating Americans of color in this time period and that was very harsh. It’s a sad side note. I actually worked with Ivan Dixon’s daughter on a show years ago and he did a show called “Hogan’s Heroes” which you may or may not have seen in reruns and it kind of ruined his independent film career because they thought he’d sold out but in fact, it’s a show about four prisoners of war in a German prisoner War Camp. It’s a comedy. I don’t understand how they ever thought that was a good idea but it was very popular in the late 60s and when people argued with him about why he did that piece because it made Nazis funny he said I had to prove that black men were there in the war and I thought that seeing me in that set of prisoners was important enough that I should do that but it meant that he didn’t do a lot of more serious films after that because of doing a comedy which I think is sad.

Watch this entire presentation

At the recent Screenwriting Research Network conference in Vienna, I gave this talk titled “From Jeanne to Suso to Julie to Spike: How Jeanne Macpherson’s Manual on Screenwriting Influenced Italian Realism which Influenced Black Independent Film in the U.S.”

In the talk, I trace the ways a manual about screenwriting by silent film writer Jeanne Macpherson influenced Suso Cecchi d’Amici who began to utilize Macpherson’s ideas and became the queen of Italian neorealism screenwriting in Europe. Then those Italian neo-realist screenwriters in turn inspired the Los Angeles School of Black Independent Film Makers (the L.A. School). In turn, such as Charles Burnett, Billy Woodberry, Haile Gerima, and Julie Dash and their ideas fueled Spike Lee. Finally, when he became the first Black man to head the jury at the Cannes Film Festival (where Suso had once served) his choice of films influenced yet another generation of screenwriters.

From Jeanne to Suso to Julie to Spike: How Jeanne Macpherson’s Manual on Screenwriting Influenced Italian Realism which Influenced Black Independent Film in the U.S. (Complete)

Podcast: Play in new window | Download

Subscribe: RSS

Related posts:

  1. From Jeanne to Suso to Julie to Spike: How Jeanne Macpherson’s Manual on Screenwriting Influenced Italian Realism which Influenced Black Independent Film in the U.S. (Complete)
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07 More On Neo-realism in the US From Jeanne to Suso to Julie to Spike: How Jeanne Macpherson’s Manual on Screenwriting Influenced Italian Realism which Influenced Black Independent Film in the U.S. [Video]

07 More On Neo-realism in the US From Jeanne to Suso to Julie to Spike: How Jeanne Macpherson’s Manual on Screenwriting Influenced Italian Realism which Influenced Black Independent Film in the U.S. [Video]

Transcript:

…but interestingly enough in a place where it’s been ignored, it came deeply into the world of the black filmmakers of the 1970s who felt that they wanted finally to show the world and how harsh it had been in their lives. So we see a lot of that influence come through these movies which also didn’t end up often in mainstream film courses. You had to take a side class right and that’s a difficult thing.

Watch this entire presentation

At the recent Screenwriting Research Network conference in Vienna, I gave this talk titled “From Jeanne to Suso to Julie to Spike: How Jeanne Macpherson’s Manual on Screenwriting Influenced Italian Realism which Influenced Black Independent Film in the U.S.”

In the talk, I trace the ways a manual about screenwriting by silent film writer Jeanne Macpherson influenced Suso Cecchi d’Amici who began to utilize Macpherson’s ideas and became the queen of Italian neorealism screenwriting in Europe. Then those Italian neo-realist screenwriters in turn inspired the Los Angeles School of Black Independent Film Makers (the L.A. School). In turn, such as Charles Burnett, Billy Woodberry, Haile Gerima, and Julie Dash and their ideas fueled Spike Lee. Finally, when he became the first Black man to head the jury at the Cannes Film Festival (where Suso had once served) his choice of films influenced yet another generation of screenwriters.

From Jeanne to Suso to Julie to Spike: How Jeanne Macpherson’s Manual on Screenwriting Influenced Italian Realism which Influenced Black Independent Film in the U.S. (Complete)

Podcast: Play in new window | Download

Subscribe: RSS

Related posts:

  1. From Jeanne to Suso to Julie to Spike: How Jeanne Macpherson’s Manual on Screenwriting Influenced Italian Realism which Influenced Black Independent Film in the U.S. (Complete)
  2. SRN 2023 Conference, Columbia, Missouri USA – Call for Papers – Proposals Due January 6, 2022
  3. The ‘Strongheart’ of Screenwriter Jane Murfin – Dr. Rosanne Welch, Script Magazine, September 2022

Having it All: Phoebe Ephron Gave Birth to Several Classic Films and 4 Female Screenwriters – Dr. Rosanne Welch, Script Magazine, November 2022

Having it All: Phoebe Ephron Gave Birth to Several Classic Films and 4 Female Screenwriters – Dr. Rosanne Welch, Script Magazine, November 2022

In 1914 Phoebe Wolkind was born in New York City. She graduated from Hunter College and worked as a counselor at a summer camp where she met Henry Ephron, a stage manager for famous playwriting team George S. Kaufman and Moss Hart. They married in 1934 and shortly thereafter they began writing together after encouragement from Kaufman and Hart.

Yet, it was not until after the birth of their first daughter, Nora, in 1942 that something they wrote, Three’s a Family, found financial backers for a Broadway production. Notably, it began their habit of using personal family experience in their stories. Three’s a Family ran for over a year. Rather than adapting their own play, RKO Studios hired Phoebe and Henry to adapt The Richest Girl in the World, a play by Norman Krasna, turning it into the film Bride by Mistake. With that assignment, they moved to Los Angeles full time and on to a contract at Warner Brothers Studios, where they became adept at adapting plays and writing screenplays based on stories created by other writers, including Reginald Denham’s Wallflower (1948), a second Norman Krasna play, John Loves Mary (1949), and Look for the Silver Lining (1949).

Read Having it All: Phoebe Ephron Gave Birth to Several Classic Films and 4 Female Screenwriters

Read about more women from early Hollywood

 

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06 Neo-realism in the US From Jeanne to Suso to Julie to Spike: How Jeanne Macpherson’s Manual on Screenwriting Influenced Italian Realism which Influenced Black Independent Film in the U.S. [Video]

06 Neo-realism in the US From Jeanne to Suso to Julie to Spike: How Jeanne Macpherson’s Manual on Screenwriting Influenced Italian Realism which Influenced Black Independent Film in the U.S. [Video]

Transcript:

Americans start paying attention because of things like “Rome Open City” which is not something Suso wrote on but is of course a film that was very majorly important here and we start thinking oh how can we incorporate that into our movies and so it begins with things like “On the Waterfront” which most people have seen or heard about which is really working through the HUAC hearings and who’s a stool pigeon and who’s not and who gives names. So we start to see the influences come into American films. “Marty” is considered one of the best examples of that and I do think this is a beautiful film because we’re looking at people who aren’t beautiful. People who aren’t rich. People who aren’t who we think movie stars should be and I often tell my students — it’s hilarious — Ernest Borgnine. They know him from being the Mermaid Man in SpongeBob. The man’s career went 80 years and here he is, they watch “Marty” in there. Amazed that what a brilliant actor. He is playing an Italian-American butcher. So a very unromantic job on top of all that. So we’re seeing some of the Italian neo-realism come into American films.

Watch this entire presentation

At the recent Screenwriting Research Network conference in Vienna, I gave this talk titled “From Jeanne to Suso to Julie to Spike: How Jeanne Macpherson’s Manual on Screenwriting Influenced Italian Realism which Influenced Black Independent Film in the U.S.”

In the talk, I trace the ways a manual about screenwriting by silent film writer Jeanne Macpherson influenced Suso Cecchi d’Amici who began to utilize Macpherson’s ideas and became the queen of Italian neorealism screenwriting in Europe. Then those Italian neo-realist screenwriters in turn inspired the Los Angeles School of Black Independent Film Makers (the L.A. School). In turn, such as Charles Burnett, Billy Woodberry, Haile Gerima, and Julie Dash and their ideas fueled Spike Lee. Finally, when he became the first Black man to head the jury at the Cannes Film Festival (where Suso had once served) his choice of films influenced yet another generation of screenwriters.

From Jeanne to Suso to Julie to Spike: How Jeanne Macpherson’s Manual on Screenwriting Influenced Italian Realism which Influenced Black Independent Film in the U.S. (Complete)

Podcast: Play in new window | Download

Subscribe: RSS

Related posts:

  1. From Jeanne to Suso to Julie to Spike: How Jeanne Macpherson’s Manual on Screenwriting Influenced Italian Realism which Influenced Black Independent Film in the U.S. (Complete)
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SRN 2023 Conference, Columbia, Missouri USA – Call for Papers – Proposals Due January 6, 2022

SRN 2023 Conference, Columbia, Missouri USA - Call for Papers - Proposals Due January 6, 2022

CALL FOR PAPERS

SRN 2023: GENDER AND THE FEMALE GAZE

September 20-23, 2023

The SRN (Screenwriting Research Network) is comprised of scholars, writers, and practice-based researchers. Started in 2006, the network currently has 700 members from 50+ countries. The aim of the annual International Conference is to continue, and expand, discussions around the screenplay and to strengthen a rapidly emerging, and global, research network. For more information, please visit our website: http://screenwritingresearch.com

The 15th annual conference is organized by the Stephens College MFA in TV and Screenwriting and the School of Integrative Studies at Stephens College. The arts and humanities thrive in Columbia, Missouri, as dozens of on- and off-campus performances occur year-round at Stephens, making the College one of Columbia’s premier centers for the performing arts.

Call for Papers:

Coming from a host college that focuses on female participation in the arts, the conference theme “Gender and the Female Gaze” wants to discuss the contributions of female screenwriters and the plethora of female-focused stories told on screen from the Silent Era through the modern-day. We encourage and embrace research that is around women of different ethnicities, religious and cultural backgrounds, and particularly hope to engage topics which relate to minority cultures within minority (and majority) communities.

We are thus particularly interested in abstracts for presentations on (but not limited to) the following topics:

  • Female screenwriters in silent cinema
  • The influence of female writer (-directors) in contemporary culture
  • Case studies on individual female screenwriter’s work
  • Patterns in the women-centered stories that have been brought to the screen
  • Historiography of manuals and screenwriting pedagogy where this reflects the work of female screenwriters
  • Censorship of women’s stories and women’s writings
  • Female screenwriters within writing partnerships
  • The work of female screenwriters within script production (e.g. as showrunners, script editors or consultants)
  • The question of a female voice within screenwriting
  • The cultural influence of female characters created by female screenwriters
  • The way life experiences led to the story told
  • The challenges to their projects screenwriters often meet which speak to political, religious, gender or other barriers which may not apply to their male counterparts.
  • The real-world impact of the script on its audiences and society.
  • Examples of the ways women stepped out of traditional roles to work for change and an improved future for themselves and their communities through screenwriting.
  • How female screen stories tackled issues of culture, religion, identity, gender and race
  • How women have negotiated screen industry norms and practices, biases and social hurdles in order to tell their screen stories.
  • Ways in which the professional woman’s everyday life (e.g. romance, marriage, parenthood status or citizenship) has been challenged or made more challenging because of her professional work, and vice versa.
  • Issues caused by unreliable narrators of history
  • Studies of cultural appropriation in screenwriting; cultural imperialism; cultural disconnect and/or discord which comes about through discourses of power
  • Research into the ways in which money/ finance precludes certain stories from being told, even by successful screenwriters

Proposals for presentations beyond the theme of the conference are also welcome. The aim of the SRN being to foster research that rethinks the screenplay in relation to its histories, theories, values, and creative practices, any proposal underpinned by such research will be considered. We expect papers on the broad topics of pedagogy, theory, and practice – but even those may reflect the conference theme via the choices of writers chosen for inclusion in the study.

Essential Information:

Deadline for abstracts: January 6, 2023
Acceptances: February 15th, 2023
Registration by: June 30, 2023

Submissions via email and contact:

Rosanne Welch
rwelch@stephens.edu

Submission of abstracts/proposals

  • Proposals/Abstracts can be sent as either a Word or PDF document: please indicate
  • “yourname_PROPOSALTYPE” (i.e. paper or panel) clearly in the file title and in the subject heading of your submission.
  • All presentations will be delivered in person, in English, and be underpinned by original research work being conducted by the presenter. Multiple presenters (max. 2) for co-written papers are allowed.

1.) Proposals for traditional 20-minute papers, followed by Q&A. They should include:

  • Title
  • Author’s name
  • Affiliation (university, independent, practitioner, etc.)
  • Contact details
  • Abstract (max. 300 words)
  • 4-6 keywords
  • short bio (max 150 words), detailing your research activity, publications and/or screenwriting practice – and if the piece contributes to the conference theme please note.

2.) Proposals for Pre-constituted panels

Proposals for pre-constituted panels can be submitted by any of the presenters or the Chair of the panel and should include:

  • title of the panel
  • brief outline (100 words maximum) of the overall topic
  • abstracts of all the presentations – no more than 3 papers – following abstract guidelines listed above.

Abstracts should follow the guidelines for individual papers as above and include short bios and contact details of both the speakers and the panel Chair. Wherever possible, the Chair should NOT be one of the presenters. If a proposal for a pre-constituted panel does not include a Chair, the Conference Committee will appoint one. All proposals should indicate “Panel Proposal SRN 2022 in the file title and in the subject heading of the submission email.

Website and registration

The Website for the conference will include a wealth of useful information (e.g., registration, travel arrangements, accommodation options), as well as all the updates and the program leading up to the Conference. It will go live in early December.

The conference fee is expected to be in the region of $120 USD.

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34 Conclusion from In Conversation with Dr. Rosanne Welch [Video]

34 Conclusion from In Conversation with Dr. Rosanne Welch [Video]

Transcript:

Host: Well that’s about what we’ve got time for but is there anything you would like to add just at the end? I would just like to also like to shout out the “Journal of Screenwriting” again and want everyone to go and check out the special issues on women in screenwriting, which is really important and excellent work and the start of a lot more research coming out and focusing on women screenwriters and so thank you for putting that together. I’m really glad it came out and came out with Intellect. So yeah thanks for that.

Rosanne: Yes well it’s – in two years, in 2023, the SRN conference I’m gonna hold it on the Stephens College campus and it’s going to be the theme will be women in screenwriting. So we’ll get a whole lot more stuff and probably a publication will come out of that. So that would be exciting.

Host: I will I’ll definitely be coming to check that out in person when we can also go back to conferences again but yeah just everyone should check out the Screenwriting Network . Is it screenwriters Network?

Rosanne: The Screenwriting Research Network and it’s free to join if you’re an academic or a practitioner and it’s online. You can see our website and we have of course a Facebook page and all that stuff.

Host: Really oh and I should also say about the “Journal of Screenwriting.” There is free content online so you can download free articles from that journal publication. So I recommend people do that but yeah just thank you so much. It’s been a real honor. You really know your stuff and you wear many different hats you know. A practicing writer, a teacher, and an excellent scholar. So thanks for coming and joining us today. It’s been an absolute pleasure.

Rosanne: Well thanks you know. It’s another beautiful thing about conferences. We met because of SCMS without that we would not have met. So I appreciate this time and it’s been – it’s always fun to talk about this stuff because I’m a fan above everything else.

Host: We’re like cool nerds it’s interesting. Cool nerds. That’s what it is.

Well thanks, everyone for tuning in. We’ll be back again next Wednesday I don’t know who my guest would be yet so what’s this space and thank you again Rosanne Welch. It’s been amazing having you on. Have a great rest of your day and thank you again.

Rosanne: Thank you. Bye-bye.

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

Watch this entire presentation

 

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

Podcast: Play in new window | Download

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