Category: Writing

The Civil War On Film – 33 in a series – “…the conflict that arose in Kansas in the seven years before the Civil War known as “Bleeding Kansas.”

The Civil War On Film - 33 in a series -

The roots of the Kansas-Missouri border war can be found in the conflict that arose in Kansas in the seven years before the Civil War known as “Bleeding Kansas.” In 1854, the Kansas-Nebraska Act created the two territories and solved the “slavery problem” with the addition of a popular sovereignty clause. While the notion that Kansas settlers would vote on whether they wanted slavery or not sounded like a sensible solution to the nation’s increasingly anxious conversation about slavery, it inadvertently caused a kind of war between anti-slavery and pro-slavery settlers.

Movies profiled in this book:

Related posts:

  1. The Civil War On Film – 28 in a series – “…except for them it was a conflict of beliefs.”
  2. The Civil War On Film – 6 in a series – “…the so-called Irrepressible Conflict.”
  3. The Civil War On Film – 23 in a series – “Many historians and critics consider Glory the best American Civil War movie ever made.”
  4. The Civil War On Film – 25 in a series – “Not surprisingly, few Civil War movies explore the prisoner of war experience…”
  5. The Civil War On Film – 20 in a series – …Americans’ ideas about who qualified as heroes of the Civil War.

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

This new “A Woman Wrote That” post is an echo of the Writers Guild campaign of a few years ago (“A Writer Wrote That”) where they noted famous movie quotes and credited the screenwriter rather than the director.  The difference here being that we will be posting lines from films written by female screenwriters.  Feel free to share! — Rosanne

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

JOE

 

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

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  1. A Woman Wrote That – 19 in a series – You’ve Got Mail (1998), Writer: Nora Ephron
  2. A Woman Wrote That – 21 in a series – Bewitched (2005), Writer, Nora Ephron
  3. A Woman Wrote That – 10 in a series – When Harry Met Sally (1989) by Nora Ephron
  4. A Woman Wrote That – 22 in a series – Bring It On! (2000), Writer, Jessica Bendinger
  5. A Woman Wrote That – 26 in a series – Fleabag (2016), Writer, Phoebe Waller-Bridge

“A Man Of Action Saving Liberty: A Novel Based On The Life Of Giuseppe Garibaldi” – 37 in a series

Over the next weeks many things became clearer to Giuseppe. Tensions were rising in the United States. Things like the 1850, Fugitive Slave Act passed Congress and provided for the return of slaves brought to free states, angering Northerner abolitionists while not completely placating the southern slaveholders. Giuseppe knew he would have to decide if he should use his talents to help preserve the union of these two factions, or find a way home, yet his exile seemed destined to keep him from home.

Get your copy of A Man Of Action Saving Liberty Today!

Related posts:

  1. “A Man Of Action Saving Liberty: A Novel Based On The Life Of Giuseppe Garibaldi” – 35 in a series
  2. “A Man Of Action Saving Liberty: A Novel Based On The Life Of Giuseppe Garibaldi” – 13 in a series
  3. “A Man Of Action Saving Liberty: A Novel Based On The Life Of Giuseppe Garibaldi” – 25 in a series
  4. “A Man Of Action Saving Liberty: A Novel Based On The Life Of Giuseppe Garibaldi” – 5 in a series
  5. “A Man Of Action Saving Liberty: A Novel Based On The Life Of Giuseppe Garibaldi” – 4 in a series

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

Highlighting the articles in the past editions of the Journal of Screenwriting, of which I am the Book Reviews Editor. Hopefully these abstracts will entice you to did a little deeper into the history and future of screenwriting. — Rosanne

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

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

Journal of Screenwriting Cover

The Journal of Screenwriting is an international double-blind peer-reviewed journal that is published three times a year. The journal highlights current academic and professional thinking about the screenplay and intends to promote, stimulate and bring together current research and contemporary debates around the screenplay whilst encouraging groundbreaking research in an international arena. The journal is discursive, critical, rigorous and engages with issues in a dynamic and developing field, linking academic theory to screenwriting practice. 

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


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

Related posts:

  1. From The Journal Of Screenwriting V1 Issue 1: No room for the fun stuff: the question of the screenplay in American indie cinema by J. J Murphy
  2. From The Journal Of Screenwriting V4 Issue 1: expensive words, cheap images: ‘Scripting’ the adapted screenplay by Alex Munt
  3. From The Journal Of Screenwriting V2 Issue 1: An evolving present within a past a history of screenwriting practices in popular Hindi cinema by Anubha Yadav
  4. From The Journal Of Screenwriting V2 Issue 2: Escape from the stage? From play to screenplay in British cinema’s early sound period by Victoria Lowe
  5. From The Journal Of Screenwriting V10 Issue 3: Die Filmprimadonna (The Film Primadonna, 1913): A case study of the fiction of a screenplay and the process of filmmaking in German early cinema by Jan Henschen

The Civil War On Film – 32 in a series – “…because it was insufficiently sympathetic to the Confederate point of view.”

The Civil War On Film - 32 in a series -

Predictably, some Civil War movie fans didn’t like Andersonville because it was insufficiently sympathetic to the Confederate point of view. Neo-Confederate viewers, who surely expected a different film from Georgian Ted Turner, pointed out Confederate soldiers in Union prison camps suffered as greatly as Union soldiers in Andersonville. On the whole though, Andersonville fairs well with Civil War movie fans who enjoy (or at least tolerate) a Northern point of view.

Movies profiled in this book:

Related posts:

  1. The Civil War On Film – 26 in a series – “…the movie is greatly esteemed by persons sympathetic with the Confederacy…”
  2. The Civil War On Film – 25 in a series – “Not surprisingly, few Civil War movies explore the prisoner of war experience…”
  3. The Civil War On Film – 20 in a series – …Americans’ ideas about who qualified as heroes of the Civil War.
  4. The Civil War On Film – 23 in a series – “Many historians and critics consider Glory the best American Civil War movie ever made.”
  5. The Civil War On Film – 5 in a series – “In our Civil War we didn’t fight outsiders…”

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

This new “A Woman Wrote That” post is an echo of the Writers Guild campaign of a few years ago (“A Writer Wrote That”) where they noted famous movie quotes and credited the screenwriter rather than the director.  The difference here being that we will be posting lines from films written by female screenwriters.  Feel free to share! — Rosanne

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

ALBERT

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

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  2. A Woman Wrote That – 25 in a series – Thelma and Louise (1991), Writer, Callie Khouri
  3. A Woman Wrote That – 11 in a series – Sleepless in Seattle (1993)
  4. A Woman Wrote That – 26 in a series – Fleabag (2016), Writer, Phoebe Waller-Bridge
  5. A Woman Wrote That – 10 in a series – When Harry Met Sally (1989) by Nora Ephron

The Civil War On Film – 31 in a series – …the heroism slathered on the men who survived Gettysburg…”

The Civil War On Film - 31 in a series - ...the heroism slathered on the men who survived Gettysburg...

Much of the heroism slathered on the men who survived Gettysburg on both sides, but mostly regarding the Confederates, came from the literary work of their wives and widows published for years after the war. For example, in 1913 La Salle Corbell Pickett published The Heart of a Soldier As revealed in the Intimate Letters of Genl. George E. Pickett C.S.A. Due to his wife’s efforts, his reckless and ill-conceived charge became synonymous with heroism – and with her husband and her husband alone – despite the fact that two Confederate divisions charged up Cemetery Ridge that day.

Movies profiled in this book:

Related posts:

  1. The Civil War On Film – 24 in a series – “…to be filmed on the actual Gettysburg battlefield itself…”
  2. The Civil War On Film – 25 in a series – “Not surprisingly, few Civil War movies explore the prisoner of war experience…”
  3. The Civil War On Film – 23 in a series – “Many historians and critics consider Glory the best American Civil War movie ever made.”
  4. The Civil War On Film – 20 in a series – …Americans’ ideas about who qualified as heroes of the Civil War.
  5. The Civil War On Film – 5 in a series – “In our Civil War we didn’t fight outsiders…”

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

Highlighting the articles in the past editions of the Journal of Screenwriting, of which I am the Book Reviews Editor. Hopefully these abstracts will entice you to did a little deeper into the history and future of screenwriting. — Rosanne

Where do cinematic ideas come from? by Adrian Martin

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

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

Journal of Screenwriting Cover

The Journal of Screenwriting is an international double-blind peer-reviewed journal that is published three times a year. The journal highlights current academic and professional thinking about the screenplay and intends to promote, stimulate and bring together current research and contemporary debates around the screenplay whilst encouraging groundbreaking research in an international arena. The journal is discursive, critical, rigorous and engages with issues in a dynamic and developing field, linking academic theory to screenwriting practice. 

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


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

Related posts:

  1. From The Journal Of Screenwriting V2 Issue 2: Some attitudes and trajectories in screenwriting research by Steven Maras
  2. From The Journal Of Screenwriting V2 Issue 2: An uneven marketplace of ideas: Amateur screenwriting, the Library of Congress and the struggle for copyright by Torey Liepa
  3. From The Journal Of Screenwriting V1 Issue 2: The early screenwriting practice of Ernest Lehman by Ted Nannicelli
  4. From The Journal Of Screenwriting V2 Issue 1: The aesthetic independence of the screenplay by M.-R Koivumki
  5. From The Journal Of Screenwriting V1 Issue 1: The protagonist’s dramatic goals, wants and needs by Patrick Cattrysse

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500+!!!! Also, send your Questions and see complete clips and presentations on my YouTube Channel

 

Read more about screenwriting with these books

* A portion of each sale from Amazon.com directly supports our blogs
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