My husband, Douglas E. Welch, will be covering the event for me and the Festival, so watch my Twitter, Instagram and Facebook feeds for up-to-date information, photos and more.
Here are some of our big events:
Citizen Jane Film School An afternoon of educational- and fun!- film industry discussions!
Studio A @ Stephens College, 1405 E Broadway
11:00 AM
Screen Grab: From Screenplay To Big Screen, Who Will Win? Judges: Sarah Haas, Ken LaZebnik, Steph Scupham, Kimberly Skyrme
Screenwriters vie for an exclusive production deal pitching their films to a panel of esteemed judges. The top five entries will be discussed and critiqued live before the audience. The winner will be announced before panel’s end. Producer, Sarah Haas, awaits to bring the project to life-a screenwriter’s dream come true!
Moderator: Dr. Rosanne Welch Panelist: Amy Banks, Krista Dyson, Cara Epstein, Betsy Leighton, Laura Kirk, Sarah Whorton
The Stephens College MFA in Screenwriting Program is proud to present six of our fabulous students who will introduce the audience to six female screenwriters whose bold, brash, brilliant words have enhanced our film experience, but whose names have been left out of the textbooks. Help us write them back in and remind us all that Women Ran Hollywood once and are on their way to doing it again!
REHERSED: A CJ TABLE READ WITH GREENHOUSE THEATER PROJECT Sager Braudis Gallery, 1025 E. Walnut
Sun / Oct 29 / 1:00 PM-3:00 PM
A staged reading of this year’s Screen Grab competition winner. Experience the art of Sager-Braudis Gallery, and watch as one of Columbia’s favorite theater companies reads a short screenplay. Refreshments provided by Harold’s Doughnuts and Fretboard Coffee.
I teach the history of screenwriting, not film, to an MFA program for Stephens College, a low residency program. We do workshops at the Jim Henson Studios in Hollywood for 10 days twice a year and then the students do the rest of their work online. I’m also an adjunct at Cal State Fullerton, so I’ve had the pleasure of teaching all three of these gentlemen. So that’s been a lovely thing but I don’t teach this class there, so they haven’t actually seen me do this. With them, I’ve done screenwriting and workshopping, but here I’m going to talk about why I teach this class for a couple of reasons and I gave it this particular name, “Giving Voice to Silent Films…and the Far From Silent Women Who Wrote Them” – you’ll see that one of those books is by Carrie Beauchamp and it is, “Without Lying Down.” The life story of Frances Marion and the highest paid screenwriter in Hollywood in the entire Silent and early talkie period and none of my students have ever heard of her and I think it is very important that we hear about her and Anita Loos and a bunch of other important women.
I was pleased to be asked to participate in a panel designed by former student (and current kick-ass professor) Warren Lewis. The panel included two other former students from the MFA in Screenwriting program at CSUF: David Morgassen and Lucas Cuny. For the panel’s theme — “What Else Do We Teach When We Teach Screenwriting: Context And Controversy: Strategies For Teaching Film And Television History And Current Events To Screenwriters” — I chose to present on: “Giving Voice to Silent Films and the Far From Silent Women Who Wrote Them”.
It involves the fact that when teaching screenwriting history, I begin chronologically. In essence I force students to watch the classic films of the silent era (happily accessible for free on YouTube) first because that is when women ran the town as evidenced in Cari Beachamp’s Without Lying Down: Frances Marion and the Powerful Women of Early Hollywood”.) Beauchamp’s book is on my reading list so that they can encounter the careers of Frances Marion, Anita Loos, Lois Weber, Adela Rogers St. Johns, Eve Unsell and a host of other women who ran their own production companies for many years.
Secondly, knowing women once ran Hollywood makes it harder for today’s executives to wonder if today’s women can do the same.
Third, I have learned that teaching silent films reminds modern students that in screenwriting the visual is as important as the verbal.
Fourth, recognizing the birth of major iconic archetypes helps them recognize those archetypes in modern films and develop their own characters more three-dimensionally.
Fifth, I had to embarrassingly realize that in my zest to focus on forgotten females, I forgot to cover the careers of forgotten men and women of color and so expanded my viewing list to include the work of Oscar Mischeaux and other artists of color from the era.
Finally, I stretch back to the silents as a reminder that all artists stand of the shoulders of those who came before them – be they women or men.
Rosanne Welch, PhD has written for television (Touched by an Angel, Picket Fences) and print (Three Ring Circus: How Real Couples Balance Marriage, Work and Kids and The Encyclopedia of Women in Aviation and Space). In the documentary world she has written and produced Bill Clinton and the Boys Nation Class of 1963 for ABC NEWS/Nightline and consulted on PBS’s A Prince Among Slaves, the story of a prince from West Africa who was enslaved in the 1780s, freed by order of President John Quincy Adams in the 1820s and returned to his homeland.
Welch teaches the History of Screenwriting and One-Hour Drama for the Stephens College MFA in Screenwriting. Writing/producing credits include Beverly Hills 90210, Picket Fences,ABCNEWS: Nightline and Touched by an Angel. In 2016 she published the book Why The Monkees Matter: Teenagers, Television and American Pop; co-edited Women in American History: A Social, Political, and Cultural Encyclopedia; and placed “Transmitting Culture Transnationally Via the Characterization of Parents in Police Procedurals” in the New Review of Film and Television Studies. Essays appear in Torchwood Declassified: Investigating Mainstream Cult Television and Doctor Who and Race: An Anthology. Welch serves as Book Reviews editor for Journal of Screenwriting and on the Editorial Advisory Board for Written By magazine, the magazine of the Writers Guild.
“How Gidget Got Into the Girl Ghetto by Accident (and How We Can Get Her Out of it): Demoting Gidget: The Little Girl with Big Ideas from Edgy Coming of Age Novel to Babe on the Beach Genre Film via Choices made in the Adaptation Process.”
It’ a long title, as I joke up front, but covers the process of adapting the true life story of Kathy Kohner (nicknamed ‘Gidget’ by the group of male surfers who she spent the summers with in Malibu in the 1950s) into the film and television series that are better remembered than the novel. The novel had been well-received upon publication, even compared to A Catcher in the Rye, but has mistakenly been relegated to the ‘girl ghetto’ of films. Some of the adaptations turned the focus away from the coming of age story of a young woman who gained respect for her talent at a male craft – surfing – and instead turned the focus far too much on Kathy being boy crazy.
Along the way I found interesting comparisons between how female writers treated the main character while adapting the novel and how male writers treated the character.
Dr. Rosanne Welch teaches the History of Screenwriting and One-Hour Drama for the Stephens College MFA in Screenwriting.
Writing/producing credits include Beverly Hills 90210, Picket Fences, ABCNEWS: Nightline and Touched by an Angel. In 2016 she published the book Why The Monkees Matter: Teenagers, Television and American Pop; co-edited Women in American History: A Social, Political, and Cultural Encyclopedia; and placed “Transmitting Culture Transnationally Via the Characterization of Parents in Police Procedurals” in the New Review of Film and Television Studies. Essays appear in Torchwood Declassified: Investigating Mainstream Cult Television and Doctor Who and Race: An Anthology. Welch serves as Book Reviews editor for Journal of Screenwriting and on the Editorial Advisory Board for Written By magazine, the magazine of the Writers Guild.
The Screenwriting Research Network is a research group consisting of scholars, reflective practitioners and practice-based researchers interested in research on screenwriting. The aim is to rethink the screenplay in relation to its histories, theories, values and creative practices.
In 2003, the film was selected for preservation in the United StatesNational Film Registryby theLibrary of Congressas being “culturally, historically, or aesthetically significant”.[3]
At the time of the film’s release, Rudolph Valentino was attempting to make a comeback in films.[4] He rose to international stardom after the release of The Four Horsemen of the Apocalypse and The Sheik in 1921, both of which were box office hits and solidified his image as “the Great Lover”.[5] By 1924, however, Valentino’s popularity had begun to wane after he appeared in two box office failures, Monsieur Beaucaire and A Sainted Devil, both of which featured him in roles that were a departure from his “Great Lover” image. He also squabbled over money with Famous Players-Lasky, the studio he was signed to, which eventually led to him walking out on his contract. Famous Players-Lasky eventually released Valentino from his contract and he signed with United Artists in 1925.[4] In an effort to capitalize on the success that Valentino had achieved with The Sheik, United Artists’ president Joseph M. Schenck bought the rights to Edith Maude Hull‘s novel Son of the Sheik and cast Valentino in the dual role of father and son.[2][6]
* 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!
I teach several classes for the Stephens College Low-Residency MFA in Screenwriting, including History of Screenwriting. In fact, I created the curriculum for that course from scratch and customized it to this particular MFA in that it covers ‘Screenwriting’ (not directors) and even more specifically, the class has a female-centric focus. As part History of Screenwriting I, the first course in the four-class series, we focus on the early women screenwriters of the silent film era who male historians have, for the most part, quietly forgotten in their books. In this series, I share with you some of the screenwriters and films that should be part of any screenwriters education. I believe that in order to become a great screenwriter, you need to understand the deep history of screenwriting and the amazing people who created the career. — Dr. Rosanne Welch
The Poor Little Rich Girl is a 1917 American comedy-drama film directed by Maurice Tourneur. Adapted by Frances Marion from the 1913 play by Eleanor Gates.[1] The Broadway play actually starred future screen actress Viola Dana.[2] The film stars Mary Pickford, Madlaine Traverse, Charles Wellesley, Gladys Fairbanks (returning from the play) and Frank McGlynn, Sr.
The film was shot in Fort Lee, New Jersey when early film studios in America’s first motion picture industry were based there at the beginning of the 20th century.[3][4][5] In 1991, The Poor Little Rich Girl was deemed “culturally, historically, or aesthetically significant” by the United States Library of Congress and selected for preservation in the National Film Registry. — Wikipedia
* 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!
I teach several classes for the Stephens College Low-Residency MFA in Screenwriting, including History of Screenwriting. In fact, I created the curriculum for that course from scratch and customized it to this particular MFA in that it covers ‘Screenwriting’ (not directors) and even more specifically, the class has a female-centric focus. As part History of Screenwriting I, the first course in the four-class series, we focus on the early women screenwriters of the silent film era who male historians have, for the most part, quietly forgotten in their books. In this series, I share with you some of the screenwriters and films that should be part of any screenwriters education. I believe that in order to become a great screenwriter, you need to understand the deep history of screenwriting and the amazing people who created the career. — Dr. Rosanne Welch
Rebecca of Sunnybrook Farm is a 1917 American silentcomedy-drama film directed by Marshall Neilan based upon the novel of the same name by Kate Douglas Wiggin. This version is notable for having been adapted by famed female screenwriter Frances Marion. The film was made by the “Mary Pickford Company” and was an acclaimed box office hit. When the play premiered on Broadway in the 1910 theater season the part of Rebecca was played by Edith Taliaferro.[1][2][3]
As described in a film magazine,[4] Rebecca Randall (Pickford) is taken into the home of her aunt Hannah (Eddy), a strict New England woman. Rebecca meets Adam Ladd (O’Brien), a young man of the village, and they become great friends. One day Rebecca promises to marry Adam when she becomes of age. Unable to withstand her pranks any longer, her aunt sends her away to a boarding school. She graduates a beautiful young lady. Shortly thereafter, Adam demands a fulfillment of her promise. — Wikipedia
* 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!
I teach several classes for the Stephens College Low-Residency MFA in Screenwriting, including History of Screenwriting. In fact, I created the curriculum for that course from scratch and customized it to this particular MFA in that it covers ‘Screenwriting’ (not directors) and even more specifically, the class has a female-centric focus. As part History of Screenwriting I, the first course in the four-class series, we focus on the early women screenwriters of the silent film era who male historians have, for the most part, quietly forgotten in their books. In this series, I share with you some of the screenwriters and films that should be part of any screenwriters education. I believe that in order to become a great screenwriter, you need to understand the deep history of screenwriting and the amazing people who created the career. — Dr. Rosanne Welch
My ABC-CLIO catalog arrived while we were off in New Zealand at the Screenwriting Research Network Conference and inside it was this page for my latest encyclopedia — which is now available for purchase. Please take am moment to recommend it to your local librarian.
One attendee comment made my evening, “This panel was both inspirational and aspirational!”
Tonight: This panel of rockstar writers shares their process for crafting strong female characters. Thanks for moderating, @rosannewelch! pic.twitter.com/W8FUfWWSz6
I’m so honored to have been asked to moderate this exciting panel coming up next Wednesday August 16, 2017: WOMEN WARRIORS: WRITING STRONG FEMALE PROTAGONISTS with a panel that includes Allan Heinberg (WONDER WOMAN), and Moira Walley-Beckett (ANNE WITH AN E), Amy Berg (COUNTERPART), Liz Flahive (GLOW), Carly Mensch (GLOW).
Unfortunately, this event is sold out.
‘Featuring a Strong Female Lead’ is more than just a Netflix category; it marks an evolution of film and television characters that have shown us the world from varied female perspectives. From Scarlett O’Hara and Norma Desmond to Maude Findlay, Buffy Summers and Wonder Woman, our favorite female heroines (and anti-heroines) have paved the way for modern explorations of the female experience.
On this special evening, our panel of writers explores the process of crafting strong female protagonists, how they navigate through archetypes and stereotypes, and how writers are challenging (and changing) the way female characters are depicted on TV and film.
Panelists:
Amy Berg – Amy is a writer and executive producer for film and television. She’s written for a multitude of shows including DA VINCI’S DEMONS, PERSON OF INTEREST, EUREKA, LEVERAGE, and THE 4400. She also created the award-winning digital series CAPER. Along with her feature work, she’s currently co-showrunning the upcoming Starz series COUNTERPART starring J.K. Simmons and consulting on a series for Hulu.
Liz Flahive & Carly Mensch – Creators of Netflix Original Series GLOW
Allan Heinberg – Allan is the screenwriter of the film Wonder Woman, directed by Patty Jenkins. His television writing and producing credits include The Naked Truth, Party Of Five, Sex And The City, Gilmore Girls, The O.C., Grey’s Anatomy, Looking, and Scandal. Most recently, Heinberg developed, wrote, and ran ABC’s The Catch, starring Mireille Enos and Peter Krause. For Marvel Comics, Heinberg created and wrote Young Avengers and its sequel, Avengers: The Children’s Crusade with co-creator/artist Jim Cheung. For DC Comics, Heinberg co-wrote JLA: Crisis Of Conscience with Geoff Johns (art by Chris Batista), and re-launched Wonder Woman with artists Terry and Rachel Dodson.
Moira Walley-Beckett – Moira is a multiple award winning screenwriter. She is currently the Series Creator and Executive Producer of the Netflix drama “ANNE (with an E).”
Recently, Moira created “Flesh and Bone,” a critically acclaimed Limited Series for STARZ. The drama received multiple nominations (including a GOLDEN GLOBE and a WGA nod) and won a SATELLITE AWARD, a GRACIE AWARD, and a WOMEN’S IMAGE (WIN) Award. Before creating “Flesh and Bone,” Moira spent six years as a writer and Co-Executive Producer on the critically acclaimed AMC series “Breaking Bad.” For her work on that show, Moira has won a total of three EMMY AWARDS, three WRITERS’ GUILD AWARDS, three AFI AWARDS, three SATURN AWARDS, two PGA AWARDS, a GOLDEN GLOBE, a PEABODY, and received a PEN LITERARY AWARD nomination. Before her tenure as a writer on “Breaking Bad,” Ms. Walley-Beckett wrote on the NBC dramas “Raines” and “Eli Stone,” and “Pan Am” for ABC.
Currently, Moira has a feature film, The Grizzlies, in post-production with Kennedy/Marshall and Northwood Productions. Ms. Walley-Beckett hails from Vancouver, Canada but resides in Los Angeles.
The article provides a quick historical survey of the work of several prominent female screenwriters across the first century of filmmaking, including Anita Loos, Dorothy Parker, Frances Goodrich and Joan Didion. In all of their memoirs and other writings about working on screenplays, each mentioned the importance of (often) being the lone woman in the room during pitches and during the development of a screenplay. Goodrich summarized all their experiences concisely when she wrote, ‘I’m always the only woman working on the picture and I hold the fate of the women [characters] in my hand… I’ll fight for what the gal will or will not do, and I can be completely unfeminine about it.’ Also, the rise of female directors, such as Barbra Streisand or female production executives, such as Kathleen Kennedy, prove that one of the greatest assets to having a female voice in the room is the ability to invite other women inside. Therefore, this paper contributes to the scholarship on women in film and to authorship studies.
The title is a riff on a series of one-act plays I worked on in college called “Honey, You Know I Can’t Hear You When the Water’s Running” written by Robert Anderson (author of the plays Tea and Sympathy and was Oscar-nominated for the screenplays A Nun’s Story and I Never Sang for my Father.)
You can read and download the entire journal, edited by Louise Sawtell, Stayci Taylor, which includes other fine articles have a global reach, covering questions of gender in screenwriting practice; reflections on the Irish film industry; Female Screenwriters and Street Films in Weimar Republic; Narrative and Masculinity in The Long Goodbye; How Hollywood Screenplays Inscribe Gender.
The editors had also asked all contributors to create video abstracts for each piece. Thanks to Doug’s help, mine came out pretty good:
![Introduction from Giving Voice to Silent Films and the Far From Silent Women Who Wrote Them with Dr. Rosanne Welch [Video] (1 min)](https://rosannewelch.com/wp-content/uploads/2017/09/Slide01.jpg)
![How Gidget Got Into the Girl Ghetto – Dr. Rosanne Welch – SRN Conference 2017 [Video] (23 mins)](https://rosannewelch.com/wp-content/uploads/2017/10/gidget-srn.png)
