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

01 Introduction from How The Chaos Of Collaboration in the Writers Room Created Golden Age Television [Video]

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When the folks hosting the conference announced their theme as “Screen Narratives: Chaos and Order” the word ‘chaos’ immediately brought to mind writers rooms. I offered a quick history of writers rooms (the presentations are only 20 minutes long) and then quoted several current showrunners on how they compose their rooms and how they run them.

Transcript

Always good to see everybody here. We’re all like on different time schedules so I’m still — I think it’s three in the morning in Los Angeles but that’s okay. Yes, we’re going to talk about this concept of chaos in writers’ rooms, which are really run in chaos, at least the ones in the United States. Just a quick background on who I am. I was in the business for several years. I wrote Picket Fences, Beverly Hills 90210 — which is a show that won’t die because they just did a live show or is just a little crazy and Touched By An Angel for a long time. So this is where I came from in television. This is what I’ve done in academia and writing. My favorite new book is a collection of essays written by many of my students about female screenwriters from the early days and giving us their backgrounds so I’m all about finding more women that we can write about and talk about in our classes. I think that’s important. I’m also the book review editor of the Journal of Screenwriting so if you have any books you’d like to review please let me know. I’d love to get you a free copy and get your review in the journal and also I’m on the editorial board for the Written By Magazine, which is the magazine of the Writers Guild of America. You can access that for free digitally online if you go to writtenby.com or go to wga.org and they’ll have a link to it, but every month we do interviews with either a film person or a television person or whole writer’s room from a show and I think it’s a great way to bring guest stars into a classroom from all over the world. Again, they’re obviously Americans although I interviewed Russell Davies several years ago so we do have some other folks come on into the magazine but it’s pretty cool.

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A Woman Wrote That – 16 in a series – Gilmore Girls, Wr: Amy Sherman-Palladino

This new “A Woman Wrote That” post is an echo of the Writers Guild campaign of a few years ago (“A Writer Wrote That”) where they noted famous movie quotes and credited the screenwriter rather than the director. The difference here being that we will be posting lines from films written by female screenwriters. Feel free to share! — Rosanne

MICHEL

People are particularly stupid today. I can’t talk to any more of them.

Gilmore Girls on IMDB
Girlmore Girls on Wikipedia
Amy Sherman-Palladino on Wikipedia and IMDB
Stephens College MFA in TV and Screenwriting

Where’s Her Movie? Computer Scientist, Margaret Hamilton – 9 in a series

“Where’s HER Movie” posts will highlight interesting and accomplished women from a variety of professional backgrounds who deserve to have movies written about them as much as all the male scientists, authors, performers, and geniuses have had written about them across the over 100 years of film. This is our attempt to help write these women back into mainstream history. — Rosanne

Margaret Heafield Hamilton (born August 17, 1936) is an American computer scientist, systems engineer, and business owner. She was director of the Software Engineering Division of the MIT Instrumentation Laboratory, which developed on-board flight software for NASA’s Apollo program. She later founded two software companies—Higher Order Software in 1976 and Hamilton Technologies in 1986, both in Cambridge, Massachusetts.

Hamilton has published more than 130 papers, proceedings and reports about sixty projects and six major programs. She is one of the people credited with coining the term “software engineering”.[1]

On November 22, 2016, Hamilton received the Presidential Medal of Freedom from president Barack Obama for her work leading to the development of on-board flight software for NASA’s Apollo Moon missions. — Wikipedia

From The Journal Of Screenwriting V4 Issue 1: expensive words, cheap images: ‘Scripting’ the adapted screenplay by Alex Munt

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

expensive words, cheap images: ‘Scripting’ the adapted screenplay by Alex Munt

This article explores ‘scripting’ the adapted screenplay for budget film models, including microbudget features, DIY film-making and creative practice-led research. It highlights the lack of attention given to the adapted screenplay in the field of adaptation studies, and works with notions of intermediality, and transmediality, to privilege the screenplay as the primary site for creative interaction in the adaptation process. In the context of small-scale, budget film-making practices the focus is towards modes of scripting that rely on working with images, both as part of the screenplay form/format and more directly, in ‘writing’ with moving images, with the screenplay situated within production. This article argues that in consideration of the adapted screenplay, for budget film-making, the relationship between words and images is realigned. The impact of digital media culture together with the advance of digital film-making will accelerate this. Two case studies are presented. The first is Mala No he (1985), the debut feature film of Gus Van Sant, based on the novella by Walt Curtis. The second is LBF (2011), the author’s own debut feature film, based on the novel Living Between Fucks (2006) by Cry Bloxsome. This article aims to engage screenwriting researchers, independent/budget film-makers and creative arts practitioners.

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.

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The Civil War On Film – 19 in a series – …so many white Americans have wished to live in a world in which African Americans are not angry over past and present injustices…

This fictional vision of slavery was pervasive many years after the war, up to and including GWTW. In her book Clinging to Mammy (2007), Micki McElya posits the idea that “the myth of the faithful slave lingers because so many white Americans have wished to live in a world in which African Americans are not angry over past and present injustices, a world in which white people were and are not complicit, in which the injustices themselves—of slavery, Jim Crow, and ongoing structural racism—seem not to exist at all.”.

Movies profiled in this book:

49 Appreciating The Voice Of The Writer from Why Researching Screenwriters Has Always Mattered [Video] (1 minute 2 seconds)

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Transcript:

So now, in reading screenplays, people can appreciate the voice of the writer in a way they were never able to before. So we see this movement going on which is very important to me. Again, why does this matter? Because we stand on the shoulders of all the people who came before us in this business. We owe them understanding who they are and what they had to offer. In my mind, we have to honor them the same way he honors his ancestors in this movie. That’s what we’re all about if you ask me. So when i teach in this program, this is why these words mean something to me. WRITE, so you can REACH other people and REPRESENT the cultures and the stories that have not been told before. That, to me, is something that we should be very excited about. That’s why researching screenwriters has always mattered. I’m Rosanne Welch I approve this message. Thank you very much.

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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

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Event: ScriptChat with Dr. Rosanne Welch – Complete Transcript

I had a lot of fun on my first Twitter Chat last Sunday. Jeanne Veillette Bowerman of #Scriptchat had invited to talk about how to behave in a writers room alongside what are the benefits of an MFA in TV and Screenwriting (such as the one we offer from Stephens College).

Happily, I had just interviewed Gloria Calderon Kellet who had an MFA and who had said so astutely that no one requires that in Hollywood but taking 2 years to invest in herself and her craft meant she had material that was truly of high enough quality to offer up when future producers offered to read her work. So that was nice!

As to Twitter, I knew being short and concise is the bread and butter of Twitter but… wow… I’m clearly a much longer storyteller and kept running over the limit and having to use ellipses to extend a sentence or a thought. But folks seemed to enjoy it and even said I had ‘dropped pearls’ so that was nice to hear as well.

Check out #Scriptchat every Sunday night at 5pmPST/8pmET for more fun guests.

ScriptChat with Dr. Rosanne Welch from Sunday, February 14, 2021

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Where’s Her Movie? Labor Activist, Anna LoPizzo – 8 in a series

Anna LoPizzo was a striker killed during the Lawrence Textile Strike (also known as the Bread and Roses Strike), considered one of the most significant struggles in U.S. labor history. Eugene Debs said of the strike, “The Victory at Lawrence was the most decisive and far-reaching ever won by organized labor.”[1] Author Peter Carlson saw this strike conducted by the militant Industrial Workers of the World (IWW) as a turning point. He wrote, “Wary of [a war with the anti-capitalist IWW], some mill owners swallowed their hatred of unions and actually invited the AFL to organize their workers.[2]

Anna LoPizzo’s death was significant to both sides in the struggle. Wrote Bruce Watson in his epic Bread and Roses: Mills, Migrants, and the Struggle for the American Dream, “If America had a Tomb of the Unknown Immigrant paying tribute to the millions of immigrants known only to God and distant cousins compiling family trees, Anna LoPizzo would be a prime candidate to lie in it.”[3] — Wikipedia

Dr. Rosanne Welch Speaks On “VISIBLE STARS: Women in Early TV” for the American Women Writers National Museum [Video] (26 minutes)

Many thanks to Janice Law of the American Women Writers National Museum who invited me to give a short talk on The Women of Early TV.

I enjoyed sharing the names and careers of women like Peg Lynch, Gerturde Berg, Selma Diamond and D.C. Fontana to the members who gathered on Zoom last Wednesday morning. There are so many more I could have talked about whose names don’t appear in mainstream books about the history of television so we have to learn who they are and carry those names forward ourselves. It’s one of the missions of the Stephens College MFA in TV and Screenwriting – and has been one of my missions all my life.

Women pioneers who created, produced or shepherded many of America’s most wildly popular, early television programs will be profiled by Dr. Rosanne Welch.

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Stephens College MFA Alumni Chase Thompson and Michael Burke Talk About Their MFA Experience on the Starcatcher Podcast [Audio Except]

In this clip from a recent Starcatcher podcast film professor (and MFA alum) and host – Chase Thompson – interviews Tech Theatre professor (and MFA alum) Michael Blake about their time as MFA candidates in our Stephens College MFA in TV and Screenwriting program.

They both mention the great feedback they received from their writing mentors, which made me thankful for the dedication of the many marvelous mentors in our program. Then the part that made me smile the most… They each reflected on how important it was in the History of Screenwriting courses to learn about all the female screenwriters who founded Hollywood and how often those women were left out of mainstream histories of the era.

It’s a very powerful example of how history takes time — and deep research — or someone(s) will be left out.

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Join me for a conversation with Stephens College’s Director of Production, Michael Burke. A former graduate of the Stephens Theatre program, Michael talks about his path to production, his background, why Theatre majors are so good at saying thank you, and his predictions on where the road Theater is heading after the pandemic is over.

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