On Screenwriting and Media with Dr. Rosanne Welch
Writing, Film, Television and More!
Bess Meredyth is one more name to add to that list of Silent Hollywood’s most prolific and respected screenwriters yet few textbooks mention her name – or her work as both a writer and producer in that period. In fact, when her son John Meredyth Lucas wrote a memoir of his own screenwriting career he never thought to interview her about her career. That’s how easy it can be to be forgotten and why it is so important to highlight these stories today.
Read about more women from early Hollywood
Transcript:
Jane Murphin also wrote on this original “What Price Hollywood. Jane Murphin had a long screenwriting career. You don’t hear a lot about her. This is — I love this picture — Strongheart was her own personal dog. She also was the woman who invented the dog movie before Rin Tin Tin and Lassie there was Strongheart. Believe it or not, the franchise of Strongheart created dog food which was available up to about 10 years ago. Even though obviously the dog and she are long gone. So two women wrote on that piece. In a nutshell, what is “What Price Hollywood?” It’s an ambitious actress, a drunken director, who she doesn’t marry. She marries a polo player. A very famous man who’s jealous of her fame. Her friend the director commits suicide and she travels to Paris and reconnects with the husband who left her because he was jealous. Kind of the bones of “A Star is Born” but not exactly.
Watch this entire presentation
Connections at conferences matter! Through the most recent SCMS, I met Vicki Callahan, whose film history focus right now is on Mabel Normand. When she learned I could put together a lecture on the importance of the female voice in the A Star is Born franchise she asked me to give that lecture to her master students.
It made for a great opportunity for me to hone the ideas I’m working on for a chapter on that franchise that I’m writing for a new book from Bloomsbury: The Bloomsbury Handbook Of International Screenplay Theory. It’s always nice when one piece of research can be purposed in other ways – and it’s always fun revisiting such a female-centric film franchise – one that drew the talents of such powerful performers as Janet Gaynor, Judy Garland, Barbara Streisand, and Lady Gaga.
Find out why in this lecture!
Podcast: Play in new window | Download
Subscribe: RSS
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
Unspoken Desires: Lore as case study on shadow narrative by Margot Nash
This article explores the concept of a shadow narrative lying under the surface of the main film narrative through a case study of the 2012 film Lore. The film is based on the second story in Rachel Seiffert’s book The Dark Room. It was adapted for the screen by British screenwriter Robin Mukherjee and Australian director and screenwriter Cate Shortland. I will search for the structure of this narrative through an analysis of key emotional scenes, moments or spectral traces when the unspoken desires of the protagonist, Lore, surface and take form, when subtext becomes text and nothing is ever the same again. Using film analyst Paul Gulino’s argument that most narrative films consist of eight major sequences, each between eight and fifteen minutes, I will break the film into eight sequences and then identify one key emotional scene in each sequence. I will then analyse the eight key scenes and discuss the development of Lore’s shadow or unspoken narrative of desire. Some of these key scenes re-imagine or extend narrative moments from the book, but most are new, created by the screenwriters in order to make visible the invisible transformation of character and to heighten themes introduced in the first story in the book and brought to a resolution in the third.
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!
Watch the entire presentation – Worry and Wonder | The Courier Thirteen Podcast | Episode # 29 here
![15 Stumptown from Worry and Wonder | The Courier Thirteen Podcast [Video]](https://rosannewelch.com/wp-content/uploads/2021/09/rmw-courier-13-15.jpg)
Transcript:
Host: Yeah, it seems like your not — not that into — not that engrossed in American television. Which, I mean, I do understand on a level.
Rosanne: I do agree. Now there was a great show like two years ago now, which got canceled too soon called Stumptownand it was the story of a woman who became a detective because she kind of couldn’t do anything else very well and she lived in Portland where there were reservations and Native American casinos and so she was sort of working in that world. She had a friend who ran a bar who was a former convict, so that was an interesting characterization and then they made a deal right away that they would never have a love relationship. They were just going to be friends and that was lovely to watch and that was really good because it was about real people going through problems.
It’s always fun to sit down with students and share stories about entering the television industry and how things work at all stages and I had that opportunity the other day.
Daniela Torres, a just-graduated (Congratulations!) student of the Columbia College Semester in LA program asked me to guest on a podcast she had recently begun hosting with another college student she met during her internship (good example of networking in action!).
We could have talked all morning (the benefit of a 3 hour class session) but we held it to about an hour and fifteen minutes or so. Hopefully, along the way I answered some questions you might have about how the business works. So often it amounts to working hard at being a better writer and gathering a group of other talented, hard-working people around you so you can all rise together.
Dr. Rosanne Welch is a television writer with credits that include Beverly Hills 90210, Picket Fences, ABCNEWS: Nightline and Touched by an Angel. She also teaches Television Writing and the Art of Film at San Jose State University.
Rosanne discusses what made shows like Beverly Hills 90210 compelling, what to do and not to do when attempting to pitch a show to broadcast or streaming, what most young writers neglect in their writing process, and much more!
The Courier Thirteen Podcast is available on YouTube, Spotify, Apple Podcasts, SoundCloud, and Audible.
Podcast: Play in new window | Download
Subscribe: RSS
Transcript:
Teaching philosophy. Words Matter. Writers Matter. Women Writers Matter and they’ve been far too often forgotten in history. So I love this movie to talk about because we’re going to talk about a very important female writer in Hollywood and yes this is coming out of practice for a chapter that I’m creating on this book on this movie and how it really relies on the female input to make it work in each of the iterations and we will see all of those women in all of those iterations and as Jacob mentioned we’ll notice the last movie is the only one without a female creative in the writing team which is interesting. Anyway, it all begins with Adela Rogers St Johns. She was a journalist out of San Francisco. She moved to Hollywood and she began to write short stories and sometimes scripts. She wrote mostly prose stories that were transformed into films. One of which is a thing called What Price Hollywood and it starred Constance Bennett who was a very very high-end female performer at the time and it’s a really interesting piece but it is not the first Star Is Born. There are parts of it that are similar and we will see the parts that change. She’s quite a fascinating person. If you ever want to read about her, she wrote a couple of memoirs and she used to appear in television shows. You can find her interviews on YouTube. She’s quite cool. She lived for a long time and she was the mother confessor to the stars of Hollywood because she wrote for the Hearst syndicate and so people in scandals would call her and say “you’ve got to come to my house and tell me how to deal with the press because they’re going to kill me because someone just died in my house” right? So she’s a pretty cool lady.
Watch this entire presentation
Connections at conferences matter! Through the most recent SCMS, I met Vicki Callahan, whose film history focus right now is on Mabel Normand. When she learned I could put together a lecture on the importance of the female voice in the A Star is Born franchise she asked me to give that lecture to her master students.
It made for a great opportunity for me to hone the ideas I’m working on for a chapter on that franchise that I’m writing for a new book from Bloomsbury: The Bloomsbury Handbook Of International Screenplay Theory. It’s always nice when one piece of research can be purposed in other ways – and it’s always fun revisiting such a female-centric film franchise – one that drew the talents of such powerful performers as Janet Gaynor, Judy Garland, Barbara Streisand, and Lady Gaga.
Find out why in this lecture!
Podcast: Play in new window | Download
Subscribe: RSS
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
That was then this is now … The Canyons – with Paul, Bret, James and Lindsay by Alex Munt
New Hollywood, from the late 1960s to early 1980s, was marked by an innovation in film business (production, marketing, audience) together with an opening up of film form. Today, some 50 years later, film culture is again in flux with new models of funding, production and distribution for the digital age. The impact of these developments on screenwriting is (necessarily) speculative at this stage. The focus of this article is on screenwriter/director Paul Schrader, a jump-cut from Taxi Driver (1976) to The Canyons (2013) – his experiment in ‘post-theatrical cinema’ with novelist/screenwriter Bret Easton Ellis. The film was written for microbudget and crowdfunded on the Kickstarter platform. It assembles the notorious cast of porn star James Deen and celebrity maelstrom Lindsay Lohan. The Canyons rolled out with an aggressive online marketing strategy and innovative ‘day and date’ distribution model with an eye to video on demand. Larry Gross has described the film as belonging to ‘this cultural moment’. In this analysis of The Canyons I ask: What does it mean to conceive, and write, a screenplay for the present, for ‘now’? How does screenplay development and creative collaboration differ in a crowdfunded/microbudget environment? How does the film interact with new forms, and aesthetics, appropriate to this ‘cultural moment’? In the final part of the article I attempt to situate the film within a wider narrative framework via Schrader’s diagnosis of ‘narrative exhaustion’, Douglas Rushkoff’s theory of ‘present shock’ and Ellis’ rumination on the American ‘post-empire’ condition.
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!
Watch the entire presentation – Worry and Wonder | The Courier Thirteen Podcast | Episode # 29 here
![14 International TV from Worry and Wonder | The Courier Thirteen Podcast [Video]](https://rosannewelch.com/wp-content/uploads/2021/09/rmw-courier-13-14.jpg)
Transcript:
Host: Is there a show on today that you think is really good at capturing those really human moments and I mean is there a show that you really adore that does that does that? That accomplishes that well?
Rosanne: I watch such a wide variety of tv. I must say what i love for y’all’s generation is the existence of Netflix means that you can watch television from a variety of different countries beyond which all the various things being made here and of course between cable and streaming and whatnot, we laugh now there’s something like 420 new shows out in the world. So it’s almost impossible to keep track of all of them. I learn so much when students come in and want to pitch a show I’ve never heard of then I have to go watch it and figure out what’s going on with this right? So I watch such a variety of things it’s hard to say. I’ve been watching a lot of stuff out of New Zealand and I’m a huge Doctor Who fan and any kind of science fiction is fun because it is looking at modern-day problems but in that science fiction world. So it’s kind of fun to watch and go oh they’re having… this is a problem they’re dealing with but it’s happening to aliens instead of you know humans or something. So that’s fantastic. I watch a lot of Australian tv. A lot of English tv. A lot of the kind of murder mysteries they do where it’s not all about the gore. It’s not about CSI where’s all the blood and all the stuff I have to put under microscopes. It’s about again people and how come that person seems guilty but no and it turns out the red herring is that it’s because they knew they were having an affair but they’re not the one who killed him. So it’s like puzzles and I find that really interesting and I find they can make more real people in shows like that. So sadly in terms of what I think about you know American tv.
It’s always fun to sit down with students and share stories about entering the television industry and how things work at all stages and I had that opportunity the other day.
Daniela Torres, a just-graduated (Congratulations!) student of the Columbia College Semester in LA program asked me to guest on a podcast she had recently begun hosting with another college student she met during her internship (good example of networking in action!).
We could have talked all morning (the benefit of a 3 hour class session) but we held it to about an hour and fifteen minutes or so. Hopefully, along the way I answered some questions you might have about how the business works. So often it amounts to working hard at being a better writer and gathering a group of other talented, hard-working people around you so you can all rise together.
Dr. Rosanne Welch is a television writer with credits that include Beverly Hills 90210, Picket Fences, ABCNEWS: Nightline and Touched by an Angel. She also teaches Television Writing and the Art of Film at San Jose State University.
Rosanne discusses what made shows like Beverly Hills 90210 compelling, what to do and not to do when attempting to pitch a show to broadcast or streaming, what most young writers neglect in their writing process, and much more!
The Courier Thirteen Podcast is available on YouTube, Spotify, Apple Podcasts, SoundCloud, and Audible.
Podcast: Play in new window | Download
Subscribe: RSS
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 Watergate Theory of Screenwriting’: A keynote presentation at SRN, Wisconsin, 2013 by Larry Gross
One way to start to think about making information in a script interesting is to rephrase the question that was posed by the Watergate investigators about then President Richard Nixon’s knowledge of the criminal deeds of his subordinates. The question reiterated obsessively during the Senate Committee investigation, voiced initially by Tennessee Republican Senator Howard Baker, was … ‘What did the president know, and when did he know it?’. In order to get going, scriptwriters must ask: what do the characters know – about narrative context, about themselves, and about each other, and when do they know it? This essay will explore Akira Kurosawa’s 1952 film, Ikiru (co-written with Shinobu Hashimoto and Hideo Oguni), and how the film is masterfully structured in relation to “who knows what and when.”
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!
The Stephens College MFA in TV and Screenwriting is one of many sponsors of the LaFemme Film Festival which supports and nurtures the artistic entertainment productions of women. Their President and Director, Leslie LaPage, hosts the Best in Fest podcast and recently invited me on to talk about the 10 Things Hollywood Writers Must Know.
Dr. Rosanne Welch is a writer and university professor of Humanities in the (IGE) Department at California State Polytechnic University, Pomona; and screenwriting for two MFA in Screenwriting programs (Cal State, Fullerton and Stephens College). Her current books include Why The Monkees Matter: Teenagers, Television and American Pop Culture (McFarland Publishing, 2017) and Women in American History: A Social, Political, and Cultural Encyclopedia and Document Collection (ABC-CLIO, 2017), which she co-edited with her CalPoly Pomona colleague and officemate, Dr. Peg Lamphier.
In her previous life, Welch was a television writer/producer with credits that include Beverly Hills 90210, Picket Fences and Touched by an Angel and ABC NEWS/Nightline. 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.
In this episode, Leslie and Rosanne discuss 10 things Hollywood writers must know. For example, how to write what you emotionally know, how to work in a writer’s room, the do’s and don’ts of pitching, when to use a pitch deck and when it’s a horrible idea and much more.
Podcast: Play in new window | Download
Subscribe: RSS
Transcript:
Here we are. We’re talking about the importance of female creatives in A Star Is Born. For me, that’s really what it’s all about. I like to my begin my lectures about the fact that I would like to acknowledge that this event is happening on the traditional lands of the Tongva people. That’s what Los Angeles is and we should recognize that there were people here before us and we need to respect their history and they’re the people who still exist on this land. So I like to start with that. I learned that when I went to a conference in New Zealand and they start all their lectures that way and I thought that was quite beautiful. As you just said so I don’t need this. These are the shows that I’ve worked on. These are the books that I have written. The lecture we’re speaking on today is going to come up next year in the book. I also am on the editorial board for Written By magazine, which I happen to have a copy of right next to me. It’s free online. So the magazine of the Writers Guild. I recommend people read it and it always has interviews with movie writers or television writers and that’s really good. I also do book reviews for the Journal of Screenwriting. It’s a great place for new academics to get published. If there are books you feel like reviewing or you’d like a free copy of you can write a review for me. So Vicki will get you in touch with me if that’s interesting to you.
Watch this entire presentation
Connections at conferences matter! Through the most recent SCMS, I met Vicki Callahan, whose film history focus right now is on Mabel Normand. When she learned I could put together a lecture on the importance of the female voice in the A Star is Born franchise she asked me to give that lecture to her master students.
It made for a great opportunity for me to hone the ideas I’m working on for a chapter on that franchise that I’m writing for a new book from Bloomsbury: The Bloomsbury Handbook Of International Screenplay Theory. It’s always nice when one piece of research can be purposed in other ways – and it’s always fun revisiting such a female-centric film franchise – one that drew the talents of such powerful performers as Janet Gaynor, Judy Garland, Barbara Streisand, and Lady Gaga.
Find out why in this lecture!
Podcast: Play in new window | Download
Subscribe: RSS
![14 International TV from Worry and Wonder | The Courier Thirteen Podcast [Video]](https://rosannewelch.com/wp-content/uploads/2021/09/rmw-courier-13-14-1-1200x675.jpg)
![01 Introduction from “Female Creatives & A Star Is Born” with Dr. Rosanne Welch [Video] [CC]](https://rosannewelch.com/wp-content/uploads/2021/03/rmw-women-creatives-star-is-born-usc.jpg)