From The “When Women Wrote Hollywood Archives 43: COMEDY OUTLOOK SADDENS SPEWACK (1960) – The New York Times

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

COMEDY OUTLOOK SADDENS SPEWACK; Calls Times ‘Unfortunate’ for the Writer of Humor — Cites ‘Method’ School as ‘Grim’
By Louis Calta

Available in facsimile version on the NY Times web site.


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When Women Wrote Hollywood: The Movies – 9 in a series – Suspense (1913) Wr: Lois Weber

When Women Wrote Hollywood: The Movies - 9 in a series - Suspense (1913) Wr: Lois Weber

Suspense 1913 film shot

Suspense is a 1913 American silent short film thriller directed by Lois Weber and Phillips Smalley. Weber also wrote the scenario and stars in the film with Valentine Paul. The film features early examples of a split screen shot[1] and a car chase. The Internet Movie Database lists Lon Chaney as having an unconfirmed and uncredited brief role;[2] however, this is disputed by silentera.com, which states “Despite attributions to the contrary, Lon Chaney does not appear in the film.”[3][4][5]

A print of the film is preserved at the film archive of the British Film Institute.[6]

A servant leaves a new mother with only a written letter of notice, placing her key under the doormat as she leaves. Her exit attracts the attention of a tramp to the house. As the husband has previously phoned that he is working late, the wife decides not to ring back when she finds the note but does ring back when she sees the tramp. Her husband listens, horrified, as she documents the break-in and then the tramp cuts the line. The husband steals a car and is immediately pursued by the car’s owner and the police, who nearly but don’t quite manage to jump into the stolen car during a high-speed chase. The husband manages to gain a lead over the police but then accidentally strikes a man smoking in the road and checks to see that he is okay. Meanwhile, the tramp is breaking into the room where the wife has locked herself and her baby, violently thrusting himself through the wood door, carrying a large knife. At that moment the husband arrives, pursued by the police. As the husband runs towards the home, the police fire warning shots into the air, panicking the hobo. He runs down the stairs, to be met by the husband at the front door. After a short struggle, he overpowers the hobo, who is then grabbed by the police. The husband runs upstairs, everything is explained, and all is forgiven as the couple embrace. — Wikipedia

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Buy “When Women Wrote Hollywood” Today!


When Women Wrote Hollywood: Essays on Female Screenwriters in the Early Film Industry

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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

29 Unspoken Messages in Film from When Women Write Horror with Dr. Rosanne Welch [Video] (53 seconds)

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29 Unspoken Messages in Film from When Women Write Horror with Dr. Rosanne Welch

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Transcript:

Now one of the things we have to think about — side note — when we think about horror movies again — is what they’re telling us. In this movie, as we know, spoiler alert, he’s the bad guy. Anthony Perkins was gay and by casting him they knew the audience would feel awkward about him. there would be something wrong with him They didn’t have to say what it was. They just knew society would find him wrong and so they cast him as the bad guy right? And so under all of this, what we’re saying is you can’t trust gay men. They’re dangerous. Don’t be near them. That’s the underlying concept behind Psycho. So I think that’s really — I have to think about what are the messages we’re getting from the stuff we’re watching and the stuff we’re reading and how do we counter those if they’re messages that we don’t want to have but it’s a good movie. It’s a good movie but have to think about that.

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

From The Journal Of Screenwriting V2 Issue 2: The first screenplays? American Mutoscope and Biograph scenarios revisited by Steven Price

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


The first screenplays? American Mutoscope and Biograph scenarios revisited by Steven Price

This article builds on the earlier work of Patrick Loughney in discussing a series of texts written by Frank J. Marion and Wallace McCutcheon, and registered by American Mutoscope & Biograph (AM&B) at the Library of Congress in 1904–05. It assesses the arguments for regarding these as the earliest surviving texts that were written specifically in order to be filmed. Significant historical contexts include copyright disputes between the studios, developments in narrative film since 1902, and the problematic classification system at the Library of Congress that prompted AM&B to register a sequence of films as both ‘photographs’ and ‘dramatic compositions’. A comparison of the scenarios to the films provides evidence that they were written prior to filming. The formal arrangement of the scenarios is almost indistinguishable from that for contemporary playscripts, which may have been due to a deliberate attempt to facilitate their registration as ‘dramatic compositions’.


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!

From The “When Women Wrote Hollywood Archives 42: Interpretations, a book of first poems (1912) by Zoë Akins

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


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

Help Support Local Bookstores — Buy at Bookshop.org

* 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

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

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


An uneven marketplace of ideas: Amateur screenwriting, the Library of Congress and the struggle for copyright by Torey Liepa

In 1912, with demand for story material increasing in a growing market, writing was becoming ever more essential to commercial film production in the United States. With several important legal developments that year, however, the marketplace for story material would begin to collapse as amateur screenwriters failed to gain the same legal protections as those producing finished films, rendering their creative material entirely susceptible to piracy from above. Despite several initiatives by advocates for non-professional writers and a few members of Congress, screenwriters would not receive legal protection for unpublished material until 1978. Throughout the Golden Age of Hollywood, then, but dating back to the origins of copyright protection for finished commercial films, US copyright law encouraged Hollywood to produce story material in a closed, intellectually isolated and commercially protected shop, more closely resembling an enigmatic ‘culture industry’ than a ‘people’s art form’. This article examines a convergence of state institutions, private enterprise and commercial trade press that helped to radically re-define the creative processes underwriting film production and the system of compensation for creative material that would delimit relations of production at the beginnings of the American film industry.


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!

27 The Writers Guild from Why Researching Screenwriters (has Always) Mattered [Video] (51 seconds)

Watch this entire presentation

27 The Writers Guild from Why Researching Screenwriters (has Always) Mattered

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

 

Transcript:

Because what the writers learned was that everyone took a pay cut except IATSE — is the union for the people who work on the set– and that had come from Broadway and they did not take a pay cut because they had a 3-year union contract and it couldn’t be taken away and that’s when the writers said Yeah, we need a union. That’s a great idea. Let’s start a union and they started a couple of versions and it wasn’t until the 1950’s when the current union — the one that does that magazine I mentioned — existed and it had existed since then and that’s protected writers by making sure that credits match on the screen. In the early days, a producer could put the credit for the film to his girlfriend simply because he wanted to make some money. You had no right to credit on your own film. So the Guild, that was one of the major things they did as well as pensions, benefits, and things like that.

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

From The “When Women Wrote Hollywood Archives 41: Grand Design: Hollywood as a Modern Business Enterprise, 1930-1939 by Tino Balio

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

The advent of color, big musicals, the studio system, and the beginning of institutionalized censorship made the thirties the defining decade for Hollywood. The year 1939, celebrated as “Hollywood’s greatest year,” saw the release of such memorable films as Gone with the Wind, The Wizard of Oz, and Stagecoach. It was a time when the studios exercised nearly absolute control over their product as well as over such stars as Bette Davis, Clark Gable, and Humphrey Bogart. In this fifth volume of the award-winning series History of the American Cinema, Tino Balio examines every aspect of the filmmaking and film exhibition system as it matured during the Depression era.


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

Help Support Local Bookstores — Buy at Bookshop.org

* 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

When Women Wrote Hollywood: The Movies – 7 in a series – “it” (1927, Wr: Eleanor Glyn

 

When Women Wrote Hollywood: The Movies - 7 in a series -

“It” is a 1927 American silent romantic comedy film that tells the story of a shop girl who sets her sights on the handsome, wealthy boss of the department store where she works. It is based on a novella by Elinor Glyn that was originally serialized in Cosmopolitan magazine.

This film turned actress Clara Bow into a major star, and led people to label her the It girl.

The film had its world premiere in Los Angeles on January 14, 1927, followed by a New York showing on February 5, 1927. “It” was released to the general public on February 19, 1927.

The picture was considered lost for many years, but a Nitrate-copy was found in Prague in the 1960s.[1] In 2001, “It” was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”.[2][3] Wikipedia

Elinor Glyn (née Sutherland; 17 October 1864 – 23 September 1943) was a British novelist and scriptwriter who specialised in romantic fiction, which was considered scandalous for its time, although her works are relatively tame by modern standards. She popularized the concept of the It-girl, and had tremendous influence on early 20th-century popular culture and, possibly, on the careers of notable Hollywood stars such as Rudolph Valentino, Gloria Swanson and, especially, Clara Bow. — Wikipedia

More about Alice Guy Blaché

* 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


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

Help Support Local Bookstores — Buy at Bookshop.org

* 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 The Exorcist from When Women Write Horror with Dr. Rosanne Welch [Video] (25 seconds)

Watch this entire presentation

27 The Exorcist from When Women Write Horror with Dr. Rosanne Welch [Video] (25 seconds)

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

 

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:

What’s interesting to me about The Exorcist — again, written by a guy, adapted by a guy — when we think Exorcist we think about Linda Blair and the girl who had the demon in her, but they didn’t sell the movie on that. They sold the movie on the man who saves her — the priest who comes to exorcise the demon. They sold it as a boy’s movie, but it’s a girl’s movie. Right? So I think that’s a problem.