21 Buffy and Masculinity from When Women Write Horror with Dr. Rosanne Welch [Video] (1 minute 9 seconds)

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21 Buffy and Masculinity from When Women Write Horror with Dr. Rosanne Welch

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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:

The other thing that was going on with Buffy and a couple of other shows we’ll talk about, is that we’re taking vampires who were the other and the scary and the bad and we’re making them sexy and hot, which is a female perspective but then we have to ask ourselves is that good or is that bad? Is that good because in a way when you make the men the objectified sexual object are you taking power away from them and therefore giving that power to the women? That’s a question because you can’t deny David Boreanaz was hot. This is all there is to it. He’s still hot. I know through Buffy through Bones and through Seal Team that man just… but I think it’s a great credit to this actor. We have to recognize he could manage to be deeply, deeply masculine while not being the most important person in the story. He could be the supportive man beside her and that made him all the more man and that’s a different way to define what manhood is and that’s I think a really important thing we’re seeing in some newer literature. So that I think is fascinating.

Rosanne Hosting Screenwriting Discussion at The Athena TV Lab

Athena film festival logo

Rosanne Hosting Screenwriting Discussion at The Athena TV Lab Via Zoom

Rosanne Hosting Screenwriting Discussion at The Athena TV Lab Via Zoom

Many thanks to the many great MFA mentors who are doing double duty as mentors to this year’s Athena TV Lab. You can find them on the last two lines of this (now familiar) Zoom grid (starting on the 3rd tier/4th spot): Dawn Comer Jefferson, Jon Vandergriff, Rashaan Dozier-Escalante (also alumna of the MFA Class of 2018), Amy Straus, and Laura Brennan. And there are 2 MFA alums here, too (Sydney Haven and Pam Winfrey).

The Athena Film Festival Virtual Writers Lab

The Athena Film Festival at Barnard College Virtual Writers Lab is for emerging women writers who have not had a feature-length narrative script produced within the past 10 years. Writers must submit a screenplay that includes a woman or women characters in a leadership role or position at the center of the story. Scripts must be feature-length narratives (between 80 and 120 pages).

The Athena Film Festival at Barnard College Virtual Writers Lab provides women identified storytellers with training, skills, and a robust supportive network. Participants will have several one-on-one mentoring sessions with experienced screenwriters as well as peer-to-peer and group sessions.

The Athena Film Festival at Barnard College Virtual Writers Lab will also include industry events where participants will learn about how to navigate the industry as well as a keynote conversation from an established filmmaker. Past panels have included: The Fluidity of Writing, How Does Representation Work, and The Art of Pitching and past keynotes have come from Gina Prince-Bythewood and Kat Candler.

From The Journal Of Screenwriting V2 Issue 1: Competitive writing: BBC Public Service television light entertainment and comedy in the 1970s and 1980s by Heather Sutherland

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


Competitive writing: BBC Public Service television light entertainment and comedy in the 1970s and 1980s by Heather Sutherland

Comedy has always been the least plausibly public service genre. It is entertaining and consequently seen as trivial, closest to commercial and often close to vulgar. Yet comedy remains the key to attracting audiences and is the aspect of programming most greedily eyed by the BBC’s competitors. This article examines how, facing severe competition during the 1970s and 1980s, in the shape of ITV and the arrival of Channel 4 in 1982, the BBC responded to the challenges of this competitive landscape, highlighting the Corporation’s approach to comedy writers and writing as a key competitive tactic. Whilst ITV and Channel 4 had their successes, the BBC, through its emphasis on organic as opposed to formula comedy forms, was able to articulate clearly the differences between its light entertainment and comedy scripts and those of the competitors. For instance, the absence of a commercial break allowed the development of more intricate plots and sub-plots, alongside in-depth characters; the structure of joke-telling adopted a more dramatic form, bringing to light wider themes, and resulting in comedic work that could inform, educate and entertain all at once. Furthermore, the nurturing approach experienced by writers working for the Corporation allowed the encouragement of new writers (to address new niche audiences) and the taking of risks in writing (particularly those under the heading alternative comedy), ultimately enabling writers to produce scripts that allowed the BBC to not only match its competitors, but to exceed them, principally with regard to the idea of what is termed here popular quality programming. As such, the history of the BBC’s approach to comedy writers and the styles and forms of BBC comedy writing can be a means of access to the core debates about what the BBC should do and produce as a public service; here is one strategy that was key to the Corporation’s defence of its public broadcaster status and its funding by licence fee. Its comedy department, scriptwriters and scripts act as an illustration of the shifts and tensions being experienced behind the scenes in the Corporation overall at this particular point in time.


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!



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** Many of these books may be available from your local library. Check it out!

20 Ruth Gordon & Garson Kanin from Why Researching Screenwriters (has Always) Mattered [Video ] (53 seconds)

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20 Ruth Gordon & Garson Kanin from Why Researching Screenwriters (has Always) Mattered [Video ] (53 seconds)

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Transcript:

So the problem here is we’re missing the writers. This movie, also famous in the United States is called George Cukor’s movie because George Cukor directed it. However, it was written by Ruth Gordon and Garson Kanin, another married couple who wrote films together. Ruth Gordon is more famous as an actress. She was in Rosemary’s Baby. She got an Oscar for that. She did several films in her early career. She did Harold and Maude which is also a cult classic. They wrote this film specifically and they cast it as we had a casting director speak this morning. They purposely said we’re only going to sell you the movie if you put Katherine Hepburn and Spencer Tracy in it. So they’re doing the work of the director but it’s George Cukor’s film. Makes them crazy. They also wrote several films together and as I said Ruth won an oscar for being in Rosemary’s Baby. That’s her very young. She was a Broadway actress and then, of course, she worked all the way until her death.

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

Beyond the Doctor: The Remarkable Verity Lambert via Medium

Female producers are pretty important, too. And they HAVE been around for a while.

Over on the BBC, Verity Lambert helped invent the longest running sci-fi series IN THE WORLD. My fav: Doctor Who. And after 50 years they have a female Doctor in the person of Jodie Whittaker. Lambert would be so proud. — Rosanne

Beyond the Doctor: The Remarkable Verity Lambert via Medium

Beyond the Doctor: The Remarkable Verity Lambert via Medium

There are few people who can claim to have left as indelible a print on British television as Verity Lambert. In a career that would last over forty-five years she would play a critical role in bringing a wealth of classic British serials to the screen, and one truly global phenomenon — Doctor Who.

The daughter of a London accountant, Verity entered the world of television via one of the few routes available to women at the time, or at least to those for whom acting held no interest — secretarial work. Blessed with a good education and eighteen months of secretarial school, she was able to find work in the press office at Grenada TV in 1956. Shortly after that, she moved on to become a shorthand typist at ABC. Further secretarial moves soon followed, as Lambert tried to engineer a move away from administration towards production. Her break finally came in 1958 with that appointment as a production assistant on Armchair Theatre.

Read more

From The “When Women Wrote Hollywood Archives 34: Women Filmmakers in Early Hollywood by Karen Ward Mahar

Months of research went into the creation of the essays in “When Women Wrote Hollywood.” Here are some of the resources used to enlighten today’s film lovers to the female pioneers who helped create it.

From The “When Women Wrote Hollywood Archives 34: Women Filmmakers in Early Hollywood by Karen Ward Mahar

From The

 

Women Filmmakers in Early Hollywood explores when, how, and why women were accepted as filmmakers in the 1910s and why, by the 1920s, those opportunities had disappeared. In looking at the early film industry as an industry―a place of work―Mahar not only unravels the mystery of the disappearing female filmmaker but untangles the complicated relationship among gender, work culture, and business within modern industrial organizations.

In the early 1910s, the film industry followed a theatrical model, fostering an egalitarian work culture in which everyone―male and female―helped behind the scenes in a variety of jobs. In this culture women thrived in powerful, creative roles, especially as writers, directors, and producers. By the end of that decade, however, mushrooming star salaries and skyrocketing movie budgets prompted the creation of the studio system. As the movie industry remade itself in the image of a modern American business, the masculinization of filmmaking took root.

Mahar’s study integrates feminist methodologies of examining the gendering of work with thorough historical scholarship of American industry and business culture. Tracing the transformation of the film industry into a legitimate “big business” of the 1920s, and explaining the fate of the female filmmaker during the silent era, Mahar demonstrates how industrial growth and change can unexpectedly open―and close―opportunities for women. — Amazon


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

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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

20 Even More On Buffy from When Women Write Horror with Dr. Rosanne Welch [Video] (1 minute 16 seconds)

Watch this entire presentation

20 Even More On Buffy from When Women Write Horror with Dr. Rosanne Welch

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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:

The other thing that’s important about Buffy is that we’re going to blend in some LGBTQ stories in the course of time. We’re going to blend in the fact that these men in her life help but never save the day. In any other story, it’s the men who come along and save the damsel in distress. In this case, it’s the chick who saves the dudes in distress or through sharing the work they make the solution happen. One of the special things about Buffy was it is about how a woman masters a problem in a feminine way right? Sadly we tend to think that when boys learn how to save the day they learn how to master a weapon and go one on one with the bad guy. That’s what they’ve seen in a million movies — many movies that i enjoy myself. The way women do it is they gather a group around them and they empower that group to be as good as they can be together and then as a group they go forward and they save the day and that’s a feminine way of doing things that’s a very that’s a very teacherly way of doing things. Together we will learn this and we will master this thing and move on in the world and succeed. So i think the show did so many things from a feminine perspective and i think it’s because of those two ladies. That makes a big difference.

From The Journal Of Screenwriting V1 Issue 2: Who Writes British Films: A Summary on the UKFC Report and a Call for Further Research by Susan Rogers

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


Who Writes British Films: A Summary on the UKFC Report and a Call for Further Research by Susan Rogers

In 2007 I was commissioned by the UK Film Council to investigate the background and employment experience of screenwriters credited on a random selection of recent UK films. The resulting report, Writing British Films Who Writes British Films and How They are Recruited, confirmed some widely-held views and uncovered much new information. The UK Film Council’s first studies had revealed that many of the beliefs about screenwriting, expressed in interviews within the British film industry, to be anecdotal or based on unsubstantiated fact and to an extent, myth, confirming the scarcity of research in this field. The following is a summary and a reflection on the findings revealed in the report.


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!

Screenwriter Jennifer Maisel from The March Sisters at Christmas, and Tempting Fate from the How I Wrote That Podcast [Audio]

Listen to the latest How I Wrote That Podcast with Tera Hernandez of The Big Bang Theory [Audio]

Screenwriter Jennifer Maisel from The March Sisters at Christmas, and Tempting Fate [Audio]

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Listen to this episode

Jennifer Maisel most recently developed an original pilot called “The 626” with Super Deluxe and adapted two Jane Green novels—Tempting Fate and To Have and to Hold, which aired in June. She currently is working on a two-hour about campus rape and institutional betrayal with Just Singer Entertainment. Her screenplay “Lost Boy” was filmed starring Virginia Madsen. She wrote The Assault and The March Sisters for Mar Vista Entertainment and Double Wedding for Jaffe Braunstein. She has written movies for NBC, ABC, MTV and Lifetime, was a staff writer on the television series Related, wrote a pilot for ABC Family and an animated feature for Disney. Maisel has developed original pilots with Bunim-Murray, Ineffable, Stun Media and MomentumTV and co-created the critically acclaimed web series Faux Baby with Laura Brennan and Rachel Leventhal. The screenplay adaptation of her play The Last Seder won Showtime’s Tony Cox Screenwriting Award, meriting her a month’s stay in a haunted farmhouse at the Nantucket Screenwriter’s Colony. A graduate of Cornell University and NYU’s Dramatic Writing program, Maisel is also an award-winning playwright whose Eight Nights will premiere at Antaeus Theatre in October 2019; the play is currently part of a nationwide event called 8 Nights of Eight Nights, raising funds and awareness for HIAS. She has taught playwriting at University of Southern California and guest-lectured around the country.

On adapting novels “I like the puzzle of taking something that’s epic, novels are epic, even not great novels are epic, and you have to figure out how to find the essential spine to it and give shape to it as a writer.” — Jennifer Maisel

Presented by Stephens College MFA in TV and Screenwriting


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#MentorMonday 8 - Dawn Comer Jefferson - Stephens College MFA in TV and Screenwriting

19 Nunnally Johnson and John Ford from Why Researching Screenwriters (has Always) Mattered [Video] (51 seconds)

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19 Nunnally Johnson and John Ford from Why Researching Screenwriters (has Always) Mattered [Video] (51 seconds)

 

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

 

Transcript:

And journalists, who are writers, have made this mistake. They had dismissed writers in talking about Hollywood. I find it terrible. One time, John Ford pointed out that a particular shot that he was going to use in a script was written into the script. The screenwriter envisioned how the camera should move and John Ford said to Nunnally Johnson “I don’t know if the critics will recognize you or me for doing this work.” and Nunnally Johnson responded, “I don’t who’s going to get the credit, but Iknow I did it” and even John Ford said, ‘I know. I recognize it”, but that doesn’t mean that when John Ford was interviewed later in life he remembered to mention Nunnally Johnson. No, no, no. It was John Ford, right?

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