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“In London one of Eve Unsell’s first employees was a young Alfred Hitchcock who designed title cards presumably under Unsell’s tutelage on such films as The Call of Youth (1921). Unsell is credited with teaching Hitchcock ‘the ins and outs of story and screenplay mechanics as well as adapting novels for film.'”
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A witty, erudite celebration of fifty great Italian cultural achievements that have significantly influenced Western civilization from the authors of What Are the Seven Wonders of the World? The word “sprezzatura,” or the art of effortless mastery, was coined in 1528 by Baldassare Castiglione in The Book of the Courtier. No one has demonstrated effortless mastery throughout history quite like the Italians. From the Roman calendar and the creator of the modern orchestra (Claudio Monteverdi) to the beginnings of ballet and the creator of modern political science (Niccolò Machiavelli), Sprezzatura highlights fifty great Italian cultural achievements in a series of fifty information-packed essays in chronological order. — Amazon.com
Francesca and Walter are a criminally inclined couple who accidentally part ways while on the run from the law. Luckily, Francesca falls in with a group of peasant women and opts to hide out among them as they toil in the rice fields of the Po Valley. To her surprise, in her cover she discovers a simple but satisfying life filled with hard work and friendship. So when Walter resurfaces, their reunion doesn’t go quite as he had expected.
To highlight the wonderful yet largely forgotten work of a collection of female screenwriters from the early years of Hollywood (and as a companion to the book, When Women Wrote Hollywood) we will be posting quick bits about the many films they wrote along with links to further information and clips from their works which are still accessible online. Take a few moments once or twice a week to become familiar with their names and their stories. I think you’ll be surprised at how much bold material these writers tackled at the birth of this new medium. — Rosanne Welch
Rebecca is a 1940 American romantic psychological thriller film directed by Alfred Hitchcock. It was Hitchcock’s first American project, and his first film under contract with producer David O. Selznick. The screenplay by Robert E. Sherwood and Joan Harrison, and adaptation by Philip MacDonald and Michael Hogan, were based on the 1938 novel of the same name by Daphne du Maurier. The film stars Laurence Olivier as the brooding, aristocratic widower Maxim de Winter and Joan Fontaine as the young woman who becomes his second wife, with Judith Anderson and George Sanders in supporting roles. The film won the 1940 Academy Award for Best Picture.
The film is a gothic tale shot in black-and-white. Maxim de Winter’s first wife Rebecca, who died before the events of the film, is never seen. Her reputation and recollections of her, however, are a constant presence in the lives of Maxim, his new wife and the housekeeper Mrs. Danvers.
Rebecca won two Academy Awards, Best Picture and Cinematography, out of a total 11 nominations. Olivier, Fontaine and Anderson also were Oscar-nominated for their respective roles as were Hitchcock and the screenwriters. Rebecca was the opening film at the 1st Berlin International Film Festival in 1951.[2] — Wikipedia
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Learn more about Doctor Who with these books and videos!
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* 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
Amidst the war climate, a teenage boy discovering himself becomes love-stricken by Malèna, a sensual woman living in a small, narrow-minded Italian town.
To highlight the wonderful yet largely forgotten work of a collection of female screenwriters from the early years of Hollywood (and as a companion to the book, When Women Wrote Hollywood) we will be posting quick bits about the many films they wrote along with links to further information and clips from their works which are still accessible online. Take a few moments once or twice a week to become familiar with their names and their stories. I think you’ll be surprised at how much bold material these writers tackled at the birth of this new medium. — Rosanne Welch
Born in Guildford, Surrey, Harrison studied at St Hugh’s College, Oxford and reviewed films for the student newspaper. She also studied at the Sorbonne. In 1933, she became Alfred Hitchcock’s secretary. Eventually she began reading books and scripts for him and became one of Hitchcock’s most trusted associates. Harrison appears in a scene in Hitchcock’s original version of The Man Who Knew Too Much (1934), eating dinner with Peter Lorre’s character. She was among the screenwriters for the film Jamaica Inn (1939) based on the novel by Daphne du Maurier.
When Hitchcock moved to Hollywood in March 1939 to begin his contract with David O. Selznick to direct films, Harrison went with him as an assistant and writer.[1] She continued contributing to the screenplays for Hitchcock’s films Rebecca (1940), also adapted from a du Maurier novel, Foreign Correspondent(1940), Suspicion (1941), and Saboteur (1942). She was also credited as one of the screenwriters for Dark Waters (1944). — Wikipedia
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Rosanne Welch, PhD, Author of Why The Monkees Matter, presents “How The Monkees Changed Television” at a Cal State Fullerton Lunch Lecture on May 8, 2018.
In this talk, she shows how The Monkees, and specifically their presence on television, set the stage for large changes to come in the late 1960s.
Transcript
This is probably the most critical studies interesting thing — their identity construction and of course by that we mean when we look at an actor many people assume they have the traits of their character, right? Tom Selleck is not, in fact, a Vietnam vet right? Magnum P.I. doesn’t exist but we assume they have these traits. This was very difficult for these guys because normally on a TV show you’d be given a character name right? The guys on the Big Bang Theory that’s not your– it’s Johnny Galecki it’s not Leonard, right? So we know that they’re acting they have a fake name on this show. For whatever reason, they chose to use their real names — not them personally but the producers chose to have them use their real names. So right away the audience is lost between who’s Michael Nesmith the man versus Michael Nesmith the actor on the show right? Versus all these other Michael’s that are going to be invented here. What’s really triply interesting is in the very first pilot they gave Micky Dolenz the name he’d used on Circus Boy. That’s his acting name because when he was a child his dad didn’t want people to think that he got the job because who his dad was, so on Circus Boy, it stars Micky Braddock.
A hit television show about a fictitious rock band, The Monkees (1966-1968) earned two Emmys–Outstanding Comedy Series and Outstanding Directorial Acheivement in Comedy.
Capitalizing on the show’s success, the actual band formed by the actors, at their peak, sold more albums than The Beatles and The Rolling Stones combined, and set the stage for other musical TV characters from The Partridge Family to Hannah Montana. In the late 1980s, the Monkees began a series of reunion tours that continued into their 50th anniversary.
This book tells the story of The Monkees and how the show changed television, introducing a new generation to the fourth-wall-breaking slapstick created by Laurel and Hardy and the Marx Brothers.
Its creators contributed to the innovative film and television of 1970s with projects like Bob & Carol & Ted & Alice, The Mary Tyler Moore Show, Laugh-In and Welcome Back, Kotter. Immense profits from the show, its music and its merchandising funded the producers’ move into films such as Head, Easy Riderand Five Easy Pieces.
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![22 Identity Construction and Confusion from How The Monkees Changed Television [Video] (1:07)](https://rosannewelch.com/wp-content/uploads/2018/10/monkees-tv-22-identity.jpeg)
