academic – Page 36 – On Screenwriting and Media with Dr. Rosanne Welch

34 More On Frances Goodrich & Albert Hackett – “When Women Wrote Hollywood” with Dr. Rosanne Welch [Video] (1 minute 10 seconds)

Part of the California State University, Fullerton Faculty Noon Time Talks at the Pollak Library.

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Transcript:

Directors are lovely people but when you talk about a movie to your friends rarely do you discuss camera angles. You discuss dialogue and that’s what the writer wrote.It should be the writer’s movie or nobodies. I have a big fight with publishers now. I refuse to do things like Spielberg’s Lincoln. No. Tony Kushner wrote Lincoln and he’s got a Pulitzer Prize. it’s either his movie or it’s just Lincoln. Let’s leave it at that all right? It does not belong to Steven Spielberg cuz he didn’t write any of it but these guys are wonderful. Their work was great. They were invited — they did Thin Man. They did It’s A Wonderful LIfe — they were invited to work on the play the Diary of Anne Frank. A couple other people were offered at first. This was at a time when everything was crazy after the war. There were some thoughts that maybe it was a fake diary right but these guys believed in i.t They met Otto Frank — Anne’s father — and worked with him and created the play which won them a Pulitzer Prize and then they adapted their own play into a film. So Francis and Albert Hackett — they were considered the most beloved couple in Hollywood. They were friends with Dorothy and Alan and all these other couples that work together and they were apparently the nicest people you could ever meet, right?

Dr. Rosanne Welch discusses the women in her new book “When Women Wrote Hollywood” which covers female screenwriters from the Silents through the early 1940s when women wrote over 50% of films and Frances Marion was the highest paid screenwriter (male or female) and the first to win 2 Oscars. Yet, she fails to appear in film history books, which continue to regurgitate the myth that male directors did it all – even though it’s been proven that the only profitable movies Cecil B. de Mille ever directed were all written by Jeannie Macpherson film ever won for Best Picture was written by Robert E. Sherwood (who people have heard of, mostly due to his connection to Dorothy Parker) and Joan Harrison.

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From The “When Women Wrote Hollywood Archives 07: “Frederica Sagor Maas, Hollywood’s ‘Shocking Miss Pilgrim'” The Forward.

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 07: “Frederica Sagor Maas, Hollywood’s ‘Shocking Miss Pilgrim'” The Forward.

Read From The “When Women Wrote Hollywood Archives 07: “Frederica Sagor Maas, Hollywood’s ‘Shocking Miss Pilgrim'” The Forward.

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†

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** Many of these books may be available from your local library. Check it out!
† Available from the LA Public Library

From The Journal Of Screenwriting V10 Issue 1: Creative resistance tactics in the work of English Canadian screenwriters by Kerry McArthur

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

Creative resistance tactics in the work of English Canadian screenwriters by Kerry McArthur

This article analyses how eight successful English Canadian screenwriters negotiate various norms of screenwriting practice, in particular the criteria for three-act structure, character development and closure as advocated by Hollywood. The writers discuss their interpretations of what they consider essential narrative elements in screenplay projects, while dismissing other edicts of the screenwriting industry. Analysis of interview transcripts reveals that most of these writers take their inspiration from their own experience of screenwriting and their interpretations of other screenplays and historic texts on narrative rather than from contemporary screenwriting textbooks. The focus for almost all of these screenwriters is on writing screen stories in original ways, rather than adopting standardized narrative directives, even when elements of these directives have their uses.

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!

Join me at the Screenwriting Research Network’s Annual Conference in Oxford, UK

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From The Journal Of Screenwriting V10 Issue 1: An insider perspective on the script in practice by Vincenzo Giarrusso

An insider perspective on the script in practice by Vincenzo Giarrusso

The machinations of industry, the exigencies of film funding and the producer’s prominent role in setting fiscal and marketing objectives for film production seem incongruous with scriptwriting as a generative creative practice in the filmmaking process. This article presents a case study that investigates the agency of creative practice from the insider perspective of a scriptwriter. In mobilizing the concept of the boundary object, the case links the problematic and transitional status of the script – as it passes out of the hands of the writer – to other roles under the control of filmmaking practitioners. In combining a practice-based reflexive narrative with theoretical observations, the article explores the processes and imperatives that mediate the script and scriptwriting as an embodied experience for the scriptwriter.

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

Join me at the Screenwriting Research Network’s Annual Conference in Oxford, UK

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From The Journal Of Screenwriting 7: Book Reviews

Highlighting the articles in the latest edition 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

Reviews

Authors: Levi Dean, Mikayla Daniels, Yasser O. Shahin, Ilona Rossman Ho

Television Antiheroines: Women Behaving Badly in Crime and Prison Drama, Milly Buonanno (2017) Bristol: Intellect, 285 pp., ISBN-13 978-1-78320-760-2, p/bk, $45k

The Girl Who Knew Too Much: Shadow of a Doubt (1943), Elaine Lennon (2016) Seattle: Amazon Digital Services LLC, 132 pp., ASIN: B01KTWF08U, e-Book, $3.99

Writing for the Screen, Anna Weinstein (ed.) (2017) New York: Routledge, 254 pp., ISBN 978-1-13894-511-1, p/bk, $32.95; ISBN 978-1-31567-157-4, e-Book, $31.30

The Heroine’s Journey: Woman’s Quest For Wholeness, Maureen Murdock (1990) Boulder, CO: Shambhala Publications, 232 pp., ISBN 978-0-87773-485-7, p/bk, $18.95; ISBN 978-0-81356-342-8, e-Book, $10.98

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!

From The “When Women Wrote Hollywood Archives: ‘Movie Plots Pushed into Prose’: The Extra Girl, Will Hays, and the Novel of Silent Hollywood by Justin Gautreau

Months of research when 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.

Read ‘Movie Plots Pushed into Prose’: The Extra Girl, Will Hays, and the Novel of Silent Hollywood by Justin Gautreau

Buy “When Women Wrote Hollywood” Today!

†

Paperback Edition | Kindle Edition | Google Play Edition

* 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

26 Dorothy Parker and A Star Is Born from “When Women Wrote Hollywood” with Dr. Rosanne Welch [Video] (55 seconds)

Part of the California State University, Fullerton Faculty Noon Time Talks at the Pollak Library.

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Transcript:

Dorothy and her husband Alan Campbell wrote A Star Is Born which if you know obviously the story is about a marriage where the woman is far more famous than the man. His career is going while hers is rising. That’s Dorothy Parker and her husband’s story. That’s exactly the emotion she was experiencing. She just put it on an actor and actress. It became such a classic it was remade in the 50s with Julia my brain just went dead. Thank you. Judy Garland. I was saying Julianne and that was wrong. Judy Garland. Thank you and it was written this was adapted by Moss Hart who’s a famous name from Broadway. He wrote it himself however he credited several scenes from the original movie he’d just cut and pasted them out of the first script and put them in his and admitted that when he was doing it. So whenever he got notes from the studio that they wanted to change something he would say “No no no. That’s how Parker had it the first time. It’s good enough. We’re not fixing it.” So essentially it’s Moss Hart and Dorothy Parker together right?

Buy a signed copy of when Women Wrote Hollywood

Paperback Edition | Kindle Edition | Google Play Edition

* 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

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Mackenzie Institute In Sao Paolo via Instagram

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Mackenzie Institute In Sao Paolo.

My host for the 10th Screenwriters´(hi)Stories Seminar Keynote.

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My New Screenwriting Friends In Sao Paolo via Instagram

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My New Screenwriting Friends In Sao Paolo

Many, many thanks to Glaucia Davino for inviting me to Mackenzie Presbyterian Institute in Sao Paolo to speak to her conference, but especially for arranging for me to meet many of her dedicated doctoral students, including Livia, who gave me a wonderful walking tour of the campus before my talk yesterday. There is a deep and genuine interest in analyzing screenwriting among these students and of building the film and television industry here. In the years to come I believe the energy these students bring to their research will achieve that dream.

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Presenting my talk “How the chaos of collaboration in the writer’s room created the golden age of television” at the Screenwriting Research Conference in Porto, Portugal

** We have returned from Porto and I am streaming out our photos over the next few weeks.

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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!