At twenty-three, Martha Jefferson had a height that did not match her husband but came close enough to keep her from feeling too diminutive when standing beside him. Her auburn hair complimented his sandy red mane and his hazel-blue eyes. Filippo couldn’t help but feel they made a lovely couple, though Martha carried with her a bit of the melancholy Filippo had noticed in other women.
For her 5th Doctor Who lecture to the CPP community, Dr. Rosanne Welch discusses how society – and the show’s writing staff – prepared the audience for a major change in this 50-year franchise – the creation of the first Lady Doctor!
Transcript:
River Song is, of course, an invention of Steven Moffat. Right? and she’s super strong. She died twice — well, she dies once completely to help save The Doctor and the second time she gives all her regeneration power to Matt Smith’s Doctor, so he won’t die. Literally sacrifices her own chance to regenerate ten more times so that he won’t die. You can’t get much stronger than that. That is coming to Prince Charmings rescue. That’s the Princess coming to the rescue of the guy. I mean that’s huge and that’s written by Steven Moffat. So I think that’s worth noting.
Rosanne Welch PhD 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.
These 23 essays cover a range of female screenwriters from the early years of film through the 1940s, women whose work helped create the unforgettable stories and characters beloved generations of audiences but whose names have been left out of most film histories. Not this one. This collection is dedicated to those women and written by a group of women grateful to stand on the shoulders of those who came before – as a beacon to those who will come after.
Many thanks to the essay contributors who joined us and spoke so eloquently about the women writers they had researched: Toni Anita Hull, Laura Kirk, Amelia Phillips, Sarah Phillips, Julie Berkobien, Khanisha Foster, Lauren Smith, and to Cari Beauchamp, who wrote the Forward to the collection.
* 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
Many thanks to the essay contributors who joined us and spoke so eloquently about the women writers they had researched: Toni Anita Hull, Laura Kirk, Amelia Phillips, Sarah Phillips, Julie Berkobien, Khanisha Foster, Lauren Smith, and to Cari Beauchamp, who wrote the Forward to the collection.
* 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
I found she was in Rome during the Risorgimento of 1849 and called on America to send a smart ambassador to Rome, writing:
“Another century and I might ask to be made Ambassador myself, but woman’s day has not yet come.”
She was about right. In 1953 Clare Booth Luce (playwright known for ‘The Women’, elected to the House of Representatives in 1942, ) became the first female ambassador to Rome. Margaret was only off by 5 years.
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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
These 23 essays cover a range of female screenwriters from the early years of film through the 1940s, women whose work helped create the unforgettable stories and characters beloved generations of audiences but whose names have been left out of most film histories. Not this one. This collection is dedicated to those women and written by a group of women grateful to stand on the shoulders of those who came before – as a beacon to those who will come after.
Many thanks to the essay contributors who joined us and spoke so eloquently about the women writers they had researched: Toni Anita Hull, Laura Kirk, Amelia Phillips, Sarah Phillips, Julie Berkobien, Khanisha Foster, Lauren Smith, and to Cari Beauchamp, who wrote the Forward to the collection.
* 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
“The resounding mythology around the start of Macpherson’s film career is that she, with immeasurable pluck, simply walked into D.W. Griffith’s office and waited for him for days on end. Finally, the assistant asked about her. “I told him my stage experience. He ignored it, scorned it. ‘We want to know what you can do before a camera,’ he said.”
Jeanie Macpherson: A Life Unknown by Amelia Phillips
* 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
The representation of women in film is often troublesome at best. Hollywood films are often extremely gendered and lack adequate female representation. Male characters greatly outnumber female characters in many films, and female characters in movies are frequently underdeveloped and greatly lack any real depth.
When women are present in film, they are often presented only in relation to men. So even when there are multiple female characters in a film, they mostly only discuss their boyfriend, husband, father or brother. Because of this, cartoonist Alison Bechdel wrote a set of rules in her comic strip “Dykes to Watch Out For” that could help determine whether a film presents fully formed female characters.
* 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
![27 River Song from Gender Diversity in the Who-niverse [Video] (0:33)](https://rosannewelch.com/wp-content/uploads/2018/09/gender-dw-27-river-song.jpeg)
![Julie Berkobien, Author of “Frances Goodrich and Albert Hackett: The Most Beloved Couple in Hollywood” from “When Women Wrote Hollywood” [Video] (2:40)](https://rosannewelch.com/wp-content/uploads/2018/09/w3h-berkobien.jpeg)
†![Sarah Phillips, Author of “Screenwriter, Producer, and Director: Marion Fairfax” from “When Women Wrote Hollywood” [Video] (3:04)](https://rosannewelch.com/wp-content/uploads/2018/09/w3h-s.phillips.jpeg)
