Category: Video

25 Selling Services, not products from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute)

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25 Selling Services, not products from Why Researching Screenwriters (has Always) Mattered

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Transcript:

In their mind, playwrights were to be respected because they sold a product — they sold their play — screenwriters sold a service like a maid or a car wash person. That isn’t something they should own and that legal difference made the difference in how writers could have control of their work for years and years and years. At a certain point Dorothy Parker, again a very famous writer from New York, the Academy of Motion Picture Arts and Sciences, which we think of as the group that gives away the Oscars and has the big party once a year, in fact, started a union for writers but the producers were in charge of the rules of the union for the writers and Dorothy parker said “Looking to the academy for representation was like trying to get laid in your mother’s house. Someone was always watching in the parlor.” How could you trust the producers to give the writers a good deal if it meant less money for them but they were trying to appease the writers.

A Note About This Presentation

A clip from my keynote speech at the 10th Screenwriters´(hi)Stories Seminar for the interdisciplinary Graduation Program in “Education, Art, and History of Culture”, in Mackenzie Presbyterian University, at São Paulo, SP, Brazil, focused on the topic “Why Researching Screenwriters (has Always) Mattered.” I was especially pleased with the passion these young scholars have toward screenwriting and it’s importance in transmitting culture across the man-made borders of our world.

To understand the world we have to understand its stories and to understand the world’s stories we must understand the world’s storytellers. A century ago and longer those people would have been the novelists of any particular country but since the invention of film, the storytellers who reach the most people with their ideas and their lessons have been the screenwriters. My teaching philosophy is that: Words matter, Writers matter, and Women writers matte, r so women writers are my focus because they have been the far less researched and yet they are over half the population. We cannot tell the stories of the people until we know what stories the mothers have passed down to their children. Those are the stories that last. Now is the time to research screenwriters of all cultures and the stories they tell because people are finally recognizing the work of writers and appreciating how their favorite stories took shape on the page long before they were cast, or filmed, or edited. But also because streaming services make the stories of many cultures now available to a much wider world than ever before.

Many thanks to Glaucia Davino for the invitation.


 

* 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

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Related posts:

  1. 23 Edna Ferber and New York Writers from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute 8 seconds)
  2. 02 About Dr. Rosanne Welch from Why Researching Screenwriters (has Always) Mattered – Dr. Rosanne Welch [Video] (1 minute 12 seconds)
  3. 22 More On The Auteur Theory from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute)
  4. 01 Introduction from Why Researching Screenwriters (has Always) Mattered – Dr. Rosanne Welch [Video] (1 minute)
  5. 08 Jeannie Macpherson from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute 3 seconds)

When Women Wrote Hollywood: The Movies – 5 in a series – The Musketeers of Pig Alley (1912) – Wr: Anita Loos

An on-going series highlighting the women screenwriters of early Hollywood.

When I was first asked to create a history course for a new MFA focused on the mission of bringing more female voices and female-centric stories to Hollywood, I knew we had to start at the very beginning, when women ran Hollywood. No other course I had ever taken or been asked to teach focused on these women, some of whom I had been reading about since the summers of my childhood in Cleveland, Ohio. Back then, I went to the library once a week to collect a stack of memoirs by women I had seen interviewed on The Merv Griffin Show, women like Anita Loos and Adela Rogers St. Johns. Their stories introduced me to moguls like Louis B. Mayer or Jack Warner, who make up most of the history courses I later found in academia. Knowing better, I found most of those courses, and their accompanying textbooks, glossed over these women with a paragraph if they mentioned them at all. I conceived a course that would begin with these women who began Hollywood and culminate in research by each graduate student into the life and career of one particular early female screenwriter. That is what you find here. A collection of herstories about how these women lived, loved and created the stories that gave their audiences reasons to live and love in their own lives. — Dr. Rosanne Welch, Editor. When Women Wrote Hollywood

When Women Wrote Hollywood: The Movies - 5 in a series - The Musketeers of Pig Alley (1912) - Wr: Anita Loos

When Women Wrote Hollywood: The Movies - 5 in a series - The Musketeers of Pig Alley (1912) - Wr: Anita Loos

The Musketeers of Pig Alley is a 1912 American short drama and a gangster film. It is directed by D. W. Griffith and written by Griffith and Anita Loos. It is also credited for its early use of follow focus, a fundamental tool in cinematography.[1]

The film was released on October 31, 1912 and re-released on November 5, 1915 in the United States. The film was shot in Fort Lee, New Jersey where many other early film studios in America’s first motion picture industry were based at the beginning of the 20th century.[2][3][4] Location shots in New York City reportedly used actual street gang members as extras during the film.

It was also shown in Leeds Film Festival in November 2008, as part of Back to the Electric Palace, with live music by Gabriel Prokofiev, performed in partnership with Opera North.

In 2016, the film was added to the United StatesNational Film Registryby theLibrary of Congressas being “culturally, historically, or aesthetically significant”. — Wikipedia

More Information:

Buy “When Women Wrote Hollywood” Today!

† When Women Wrote Hollywood: Essays on Female Screenwriters in the Early Film Industry†

Paperback Edition | Kindle Edition | Google Play Edition

Help Support Local Bookstores — Buy at Bookshop.org

* 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

Related posts:

  1. From The “When Women Wrote Hollywood” Archives 13: Anita Loos Rediscovered: Film Treatments and Fiction by Anita Loos, Creator of Gentlemen Prefer Blondes by Anita Loos, Cari Beauchamp, Mary Anita Loos
  2. When Women Wrote Hollywood: The Movies – 3 in a series – The Captive (1915) Wr: Jeannie MacPherson
  3. When Women Wrote Hollywood: The Movies – 2 in a series – Lady of the Night (1925): Story By Adela Rogers St. Johns
  4. When Women Wrote Hollywood: The Movies – First in a series – Fanchon, the Cricket by Frances Marion
  5. When Women Wrote Hollywood – 5 in a series – The New York Hat (1912), Wr: Anita Loos, Dirs: D. W. Griffith

25 Sissy Spacek and Carrie Fisher from When Women Write Horror with Dr. Rosanne Welch [Video] (48 seconds)

Watch this entire presentation

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In honor of Halloween – and in service to my teaching philosophy —

“Words Matter. Writers Matter. Women Writers Matter.”

I presented this holiday lecture “When Women Write Horror” on Tuesday, October 29th, 2019. Researching the many, many women who have written horror stories – in novels, films and television – brought new names to my attention who I am excited to start reading. I hope you will be, too!

Transcript:

Sissy Spacek was quite wonderful. Do a little pop culture moment here. That’s Sissy Spacek and she’s with Carrie Fisher. Why would i put those two together in a picture? I’s because long ago and far away onthe day that they each auditioned for their separate movie, the two directors swapped the women. So Sissy Spacek could have been Princess Leia and Carrie Fisher could have been Carrie. Think about how different both of their careers would have gone had that happened and how much that each of them affect the further work they did. Carrie Fisher would always argue and I believe with her Princess Leia was powerful. She wasn’t as powerful as she could be but she was a character that took a weapon and helped with saving herself right? So each of them affected the work they did in the future.

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  1. 16 More On Toni Morrison and Beloved from When Women Write Horror with Dr. Rosanne Welch [Video] (31 seconds)
  2. 24 Carrie from When Women Write Horror with Dr. Rosanne Welch [Video] (48 seconds)
  3. 13 The Amityville Horror from When Women Write Horror with Dr. Rosanne Welch [Video] (32 seconds)
  4. 23 Taking Horror Seriously from When Women Write Horror with Dr. Rosanne Welch [Video] (43 seconds)
  5. 02 Women and Horror Writing from When Women Write Horror with Dr. Rosanne Welch [Video] (45 seconds)

24 Studios and “Work For Hire” from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute 10 seconds)

Watch this entire presentation

Studios and

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Transcript:

So why didn’t everyone do that? A couple of reasons. These guys are famous studio heads back in the day, Jack Warner, Louis B. Mayer, and Carl Lemley. Carl Lemley was of Universal Studios. They, when they created the studio system, went to the United States government and they said that writing a movie was more like working in a factory — that a bunch of people came together in an assembly line and assembled a piece and therefore one person didn’t need credit for everything and that was important to them because it meant that the author legally of any movie is not even the director nor the writer it’s the studio that made the film. So Paramount Studios is the author of every Paramount film. Writers give away their ownership forever. If you write a movie and it has a character in it that they want to make a sequel to they don’t have to hire you to write the sequel. They own that character and they gave it away this early in the history of the business because they didn’t take the business seriously. They thought it would disappear so quickly and then a hundred years later we’re still talking about it. So right away this was an issue.

A Note About This Presentation

A clip from my keynote speech at the 10th Screenwriters´(hi)Stories Seminar for the interdisciplinary Graduation Program in “Education, Art, and History of Culture”, in Mackenzie Presbyterian University, at São Paulo, SP, Brazil, focused on the topic “Why Researching Screenwriters (has Always) Mattered.” I was especially pleased with the passion these young scholars have toward screenwriting and it’s importance in transmitting culture across the man-made borders of our world.

To understand the world we have to understand its stories and to understand the world’s stories we must understand the world’s storytellers. A century ago and longer those people would have been the novelists of any particular country but since the invention of film, the storytellers who reach the most people with their ideas and their lessons have been the screenwriters. My teaching philosophy is that: Words matter, Writers matter, and Women writers matte, r so women writers are my focus because they have been the far less researched and yet they are over half the population. We cannot tell the stories of the people until we know what stories the mothers have passed down to their children. Those are the stories that last. Now is the time to research screenwriters of all cultures and the stories they tell because people are finally recognizing the work of writers and appreciating how their favorite stories took shape on the page long before they were cast, or filmed, or edited. But also because streaming services make the stories of many cultures now available to a much wider world than ever before.

Many thanks to Glaucia Davino for the invitation.


 

* 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

Podcast: Play in new window | Download

Subscribe: RSS

Related posts:

  1. 07 Storytelling And Unreliable Narrators from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute 30 seconds)
  2. 23 Edna Ferber and New York Writers from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute 8 seconds)
  3. 08 Jeannie Macpherson from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute 3 seconds)
  4. 12 Who Wrote What? from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute 9 seconds)
  5. 18 Nunnally Johnson and The Grapes Of Wrath from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute 11 seconds)

When Women Wrote Hollywood: The Movies – 3 in a series – The Captive (1915) Wr: Jeannie MacPherson

An on-going series highlighting the women screenwriters of early Hollywood.

When I was first asked to create a history course for a new MFA focused on the mission of bringing more female voices and female-centric stories to Hollywood, I knew we had to start at the very beginning, when women ran Hollywood. No other course I had ever taken or been asked to teach focused on these women, some of whom I had been reading about since the summers of my childhood in Cleveland, Ohio. Back then, I went to the library once a week to collect a stack of memoirs by women I had seen interviewed on The Merv Griffin Show, women like Anita Loos and Adela Rogers St. Johns. Their stories introduced me to moguls like Louis B. Mayer or Jack Warner, who make up most of the history courses I later found in academia. Knowing better, I found most of those courses, and their accompanying textbooks, glossed over these women with a paragraph if they mentioned them at all. I conceived a course that would begin with these women who began Hollywood and culminate in research by each graduate student into the life and career of one particular early female screenwriter. That is what you find here. A collection of herstories about how these women lived, loved and created the stories that gave their audiences reasons to live and love in their own lives. — Dr. Rosanne Welch, Editor. When Women Wrote Hollywood

TheCaptive-19150pamphletfront.jpg
By Paramount Pictures – ha.com, Public Domain, Link

The Captive is an American silent-era film released on April 22, 1915. It was released on five reels.[2] The film was written, directed, edited, and produced by Cecil B. DeMille. Jesse L. Lasky was another producer and Jeanie MacPherson worked with DeMille to write the screenplay. The film is based on a play written by Cecil B. DeMille and Jeanie MacPherson. The Captive grossed just over $56,000.[3] On a budget of only $12,154.[4] Blanche Sweet stars as Sonia Martinovich, alongside House Peters who stars as Mahmud Hassan. The film details the romantic war-era plight of Montenegrin protagonist, Sonia Martinovich, and her Turkish lover, Mahmud Hassan. — Wikipedia

Buy “When Women Wrote Hollywood” Today!

† When Women Wrote Hollywood: Essays on Female Screenwriters in the Early Film Industry†

Paperback Edition | Kindle Edition | Google Play Edition

Help Support Local Bookstores — Buy at Bookshop.org

* 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

Related posts:

  1. When Women Wrote Hollywood: The Movies – First in a series – Fanchon, the Cricket by Frances Marion
  2. When Women Wrote Hollywood: The Movies – 2 in a series – Lady of the Night (1925): Story By Adela Rogers St. Johns
  3. From The “When Women Wrote Hollywood” Archives 27: Feminism and the Female Author: The Not So Silent Career of the Woman Scenarist in Hollywood—1896–1930 by Donna R. Casella
  4. 08 Jeannie Macpherson from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute 3 seconds)
  5. Quotes from When Women Wrote Hollywood – 31 in a series – Jeanie Macpherson and DeMille

24 Carrie from When Women Write Horror with Dr. Rosanne Welch [Video] (48 seconds)

Watch this entire presentation

24 Carrie from When Women Write Horror with Dr. Rosanne Welch

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

 

In honor of Halloween – and in service to my teaching philosophy —

“Words Matter. Writers Matter. Women Writers Matter.”

I presented this holiday lecture “When Women Write Horror” on Tuesday, October 29th, 2019. Researching the many, many women who have written horror stories – in novels, films and television – brought new names to my attention who I am excited to start reading. I hope you will be, too!

Transcript:

So now I want to focus for a second here also now on what happens when women are in horror films and what kind of women kind of female role models are we seeing in that world right? So, in movies, we didn’t have for a long time women doing a lot of writing so the women were represented as the characters in this piece so right? Popular, most famous, of course, being Carrie so now we’re back to Stephen King who wrote that right? So not written by a girl and the movie was actually adapted by Lawrence Cohen, but Carrie’s an interesting study in a girl revenge movie right? This is a chance for “You misused me and I’m going to get you back,” and that wasn’t something frequently that girls had a chance to get. They just got bullied and hurt and then gee who saves the day? She’s going to save her own day when she rises from the dead.

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Related posts:

  1. 10 Shirley Jackson from When Women Write Horror with Dr. Rosanne Welch [Video] (36 seconds)
  2. 13 The Amityville Horror from When Women Write Horror with Dr. Rosanne Welch [Video] (32 seconds)
  3. 14 Beetlejuice from When Women Write Horror with Dr. Rosanne Welch [Video] (1 minute 16 seconds)
  4. 01 Introduction from When Women Write Horror with Dr. Rosanne Welch [Video] (1 minute 18 seconds)
  5. 19 More On Buffy from When Women Write Horror with Dr. Rosanne Welch [Video] (39 seconds)

23 Edna Ferber and New York Writers from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute 8 seconds)

Watch this entire presentation

23 Edna Ferber and New York Writers from Why Researching Screenwriters (has Always) Mattered

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

 

Transcript:

In the early days of Hollywood there were some issues because many of the people who came to write came from New York and they were very “fancy.” They thought they were better writers than that silly screenplay stuff. So when they came to Hollywood they didn’t really take their work seriously. They didn’t ask for too much credit. Edna Ferber I want to talk about for a minute. She was a novelist from New York. The quote I just think is cute. She said “A woman can look both moral and exciting if she also looks as if it was quite a struggle.” So she wrote a lot about early attitudes toward females and sex. She also wrote Showboat which is a classic film in the United States and she wrote Giant which is one of James Dean’s last films and she wrote this film Saratoga Trunk. All based on novels she had written first. She was smart enough when she came to Hollywood to require the studio to lease her novels not to buy the rights. So that they had to credit her and after a few years they couldn’t show the film anymore because it always remained in her possession and that was a brilliant idea but too many other of the New York writers didn’t take their work as seriously and didn’t bother with that idea. So it went away and we lost that chance to own our work.

A Note About This Presentation

A clip from my keynote speech at the 10th Screenwriters´(hi)Stories Seminar for the interdisciplinary Graduation Program in “Education, Art, and History of Culture”, in Mackenzie Presbyterian University, at São Paulo, SP, Brazil, focused on the topic “Why Researching Screenwriters (has Always) Mattered.” I was especially pleased with the passion these young scholars have toward screenwriting and it’s importance in transmitting culture across the man-made borders of our world.

To understand the world we have to understand its stories and to understand the world’s stories we must understand the world’s storytellers. A century ago and longer those people would have been the novelists of any particular country but since the invention of film, the storytellers who reach the most people with their ideas and their lessons have been the screenwriters. My teaching philosophy is that: Words matter, Writers matter, and Women writers matte, r so women writers are my focus because they have been the far less researched and yet they are over half the population. We cannot tell the stories of the people until we know what stories the mothers have passed down to their children. Those are the stories that last. Now is the time to research screenwriters of all cultures and the stories they tell because people are finally recognizing the work of writers and appreciating how their favorite stories took shape on the page long before they were cast, or filmed, or edited. But also because streaming services make the stories of many cultures now available to a much wider world than ever before.

Many thanks to Glaucia Davino for the invitation.


 

* 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

Podcast: Play in new window | Download

Subscribe: RSS

Related posts:

  1. 04 Writers Matter. Women Writers Matter from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute 5 seconds)
  2. 08 Jeannie Macpherson from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute 3 seconds)
  3. 07 Storytelling And Unreliable Narrators from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute 30 seconds)
  4. 12 Who Wrote What? from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute 9 seconds)
  5. 22 More On The Auteur Theory from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute)

Panel Discussion: More Than A Period: Writing Girls Coming of Age Stories For TV [Video] (1 hour 27 minutes)

Panel Discussion: More Than A Period: Writing Girls Coming of Age Stories For TV

Recently, I had the honor (and the fun) of moderating another panel for the Writers Guild Foundation with a conversation centered around how we write “Girls Coming of Age” stories for television. 

Our panelists included Rheeqrheeq Chainey (The Baby Sitters Club), Sonia Kharkar (On My Block, Never Have I Ever), Ilana Peña (Creator, Diary of a Future President) and Christina Nieves (Generation), an alumna of the Stephens College MFA in TV and Screenwriting, which was the greatest pleasure of the whole event!

Panel Discussion: More Than A Period: Writing Girls Coming of Age Stories For TV [Video] (1 hour 27 minutes)Stephens College MFA. in TV and Screenwriting

For each Workshop the Stephens College MFA in TV and Screenwriting hosts a panel with the Writers Guild Foundation which takes place at the Guild offices in Los Angeles. For this August it will be on Zoom which means many more attendees can RSVP to join us – and we hope you will because this panel is extra-special. 

It’s the second year in a row we’ve been able to invite an MFA alumna to be a panelist because they have become a working writer. Last year it was Class of 2019’s Sahar Jahani (who has written for Ramy and 13 Reasons Why) and on this panel we’ll be welcoming Class of 2020’s Christina Nieves to discuss Writing Girls Coming of Age Stories thanks to her new position as a staff writer on Generation.

We hope you can join me, Dr. Rosanne Welch, Executive Director of Stephens College MFA in TV and Screenwriting as I moderate the discussion.

Panel Discussion: More Than A Period: Writing Girls Coming of Age Stories For TV - Wed, August 12, 2020, 430pm PDT

Photo by Kyle Gregory Devaras on Unsplash

More Than A Period: Writing Girls Coming of Age Stories For TV

Wednesday, August 12, 2020
4:30 PM  6:00 PM

Beyond The Book Panel - Writers Guild Foundation

We at the WGF may have hit a pause on our live events, but thanks to technology, we’re aiming to provide more access to advice and knowledge from film and TV writers while we’re all social distancing. Over the last few months, we’ve been hosting free Zoom panels about craft and all things relevant to writers.

For this session, we team up with Stephens College MFA in TV and Screenwriting for a discussion about crafting girls’ coming-of-age stories. The panel of writers will share how their shows address this formative period for its characters, how their own experiences informed their writing, and why coming-of-age stories are an endless source of stories.

Panelists:

Sonia Kharkar – Executive Story Editor, On My Block, Never Have I Ever
Christina Nieves – Staff Writer, Generation
Ilana Peña – Creator, Diary of a Future President
Moderated by Dr. Rosanne Welch, Director of Stephens College MFA in TV and Screenwriting.

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  3. Panel Discussion: Location as Character: The Craft of Writing Place – WGA – October 1, 2019
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  5. Save The Date! — Panel Discussion: Location as Character: The Craft of Writing Place – WGA – October 1, 2019

When Women Wrote Hollywood: The Movies – 2 in a series – Lady of the Night (1925): Story By Adela Rogers St. Johns

An on-going series highlighting the women screenwriters of early Hollywood.

When I was first asked to create a history course for a new MFA focused on the mission of bringing more female voices and female-centric stories to Hollywood, I knew we had to start at the very beginning, when women ran Hollywood. No other course I had ever taken or been asked to teach focused on these women, some of whom I had been reading about since the summers of my childhood in Cleveland, Ohio. Back then, I went to the library once a week to collect a stack of memoirs by women I had seen interviewed on The Merv Griffin Show, women like Anita Loos and Adela Rogers St. Johns. Their stories introduced me to moguls like Louis B. Mayer or Jack Warner, who make up most of the history courses I later found in academia. Knowing better, I found most of those courses, and their accompanying textbooks, glossed over these women with a paragraph if they mentioned them at all. I conceived a course that would begin with these women who began Hollywood and culminate in research by each graduate student into the life and career of one particular early female screenwriter. That is what you find here. A collection of herstories about how these women lived, loved and created the stories that gave their audiences reasons to live and love in their own lives. — Dr. Rosanne Welch, Editor. When Women Wrote Hollywood

https://www.youtube.com/watch?v=De6mZ9IAx7s

Lady of the NightLobbyCardFramed

Two women from opposite ends of the social spectrum seek love and happiness in Monta Bell’s Lady of the Night (1925). Conceived as a vehicle for rising Metro-Goldwyn star Norma Shearer to deliver a virtuoso performance — and seal her leading lady status — the film presents the actress in a dual role: as Florence, the pampered daughter of an affluent judge (Fred Esmelton), and Molly, an underprivileged dance hall girl. As fate (and a shamelessly sentimental script) would have it, both fall in love with the same man: David (Malcolm McGregor), an ambitious young inventor. — TCM

Buy “When Women Wrote Hollywood” Today!

† When Women Wrote Hollywood: Essays on Female Screenwriters in the Early Film Industry†

Paperback Edition | Kindle Edition | Google Play Edition

Help Support Local Bookstores — Buy at Bookshop.org

* 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

Related posts:

  1. More on When Women Wrote Hollywood – Adela Rogers St. Johns – Yesterday’s Children: A Cosmopolitan Book-Length Complete Novel
  2. From The “When Women Wrote Hollywood” Archives 26: Adela St. Johns, . The Honeycomb. Garden City, N.Y.: Doubleday, 1969.
  3. When Women Wrote Hollywood – 1 in a series – “The Red Kimono” – Story by Adela Rogers St. Johns, Directed and Starring Dorothy Davenport
  4. When Women Wrote Hollywood: The Movies – First in a series – Fanchon, the Cricket by Frances Marion
  5. When Women Wrote Hollywood – 2 in a series – Adela Rogers St. Johns

23 Taking Horror Seriously from When Women Write Horror with Dr. Rosanne Welch [Video] (43 seconds)

Watch this entire presentation

23 Taking Horror Seriously from When Women Write Horror with Dr. Rosanne Welch

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

 

In honor of Halloween – and in service to my teaching philosophy —

“Words Matter. Writers Matter. Women Writers Matter.”

I presented this holiday lecture “When Women Write Horror” on Tuesday, October 29th, 2019. Researching the many, many women who have written horror stories – in novels, films and television – brought new names to my attention who I am excited to start reading. I hope you will be, too!

Transcript:

It’s one of those questions you find yourself — you know people think, “Oh you’re doing a class on horror. That can’t be anything you take seriously.” Well, we have to because it’s information people are taking in. What is it making you think right? If you’re with a dude who’s scary, do you think oh yeah it was good for her. It all worked out in the end for he.r Maybe not right? Let’s reconsider how we’re taking these fictional stories into our life. So I think that’s really interesting. Twilight of course was put together by Melissa Rosenberg who had come off the tv show, Dexter. So what an interesting background before you’re gonna write about Twilight and vampire romance, she’d written about a serial killer who you know kills once a week. I don’t know but uh she made a good ton of money off that and obviously was pretty successful.

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Related posts:

  1. 13 The Amityville Horror from When Women Write Horror with Dr. Rosanne Welch [Video] (32 seconds)
  2. 10 Shirley Jackson from When Women Write Horror with Dr. Rosanne Welch [Video] (36 seconds)
  3. 21 Buffy and Masculinity from When Women Write Horror with Dr. Rosanne Welch [Video] (1 minute 9 seconds)
  4. 06 LGBTQ Writers In History from When Women Write Horror with Dr. Rosanne Welch [Video] (1 minute 8 seconds)
  5. 03 Elizabeth Gaskell from When Women Write Horror with Dr. Rosanne Welch [Video] (1 minute 3 seconds)