08 Jeannie Macpherson from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute 3 seconds)

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08 Jeannie Macpherson from Why Researching Screenwriters (has Always) Mattered

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Transcript:

So unreliable narrators are something we have to look at when we’re doing our own research or study about films. In this case, we have a woman named Jeannie Macpherson and a gentleman who you may or may not have heard, if if you know about early American films Cecil B. DeMille. Mostly if I teach this woman’s work people have heard of him they have never heard of her because when he outlived her and gave an interview to the Academy of Motion Pictures in oral history, he said — after she was long dead — she didn’t do much work I did most of it. She had some nice ideas but I was the one who did all the real work. But if you do the research, all the movies that he made that were blockbusters she wrote and when she didn’t write his films they did not make money. Why would he have kept her on board for 20 years of filmmaking if she did so very little but she didn’t live long enough to give her own oral history and he did.

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 24 : Obituary: Jan Zilliacus. Independent. Pub. Monday, May 31, 1999, Kevin Brownlow

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 24 : Obituary: Jan Zilliacus. Independent. Pub. Monday, May 31, 1999, Kevin Brownlow

From The

JAN ZILLIACUS was the daughter of the pioneer American film director Laurence Trimble, owner of Jean, the Vitagraph dog, who won international fame long before Rin-Tin-Tin.

“Father wanted six boys and all he got was this miserable girl,” she said. “So he treated me like a boy. He gave me no quarter at all. I was breaking horses at the age of 10 and 11. I was very strong. I didn’t go to school properly – I had tutors from time to time. But somebody had to be chased by wolves, and the actresses didn’t like the idea.”

Read Obituary: Jan Zilliacus. Independent. Pub. Monday, May 31, 1999


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

Stephens College MFA in TV and Screenwriting [Video]

What is the Stephens College MFA in TV and Screenwriting? Here is a short introduction.

Stephens College  MFA in TV and Screenwriting  Official AD

We’re pleased to present a new slideshow designed by graphic artist Phoenix Bussey, a Stephens College undergrad, using photos taken by MFA candidates during the last few years of workshops. We think it tells our story well. Write. Reach. Represent.

Visit the Stephens College MFA in TV and Screenwriting web site to apply today!

09 More Edith Wharton’s Ghost Stories from When Women Write Horror with Dr. Rosanne Welch [Video] (32 seconds)

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09 More Edith Wharton's Ghost Stories 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:

Who has done anything with her ghost stories for Christmas? I think that’d be an excellent thing to check into. Her house is on a haunted home tour, right,, if you go through the UK. You can study her house. That’s her library. When you see libraries like that from the old days, those are usually the rooms that belong to men. Those were the man caves of their day, but this is hers. This room belonged to a woman who was a writer and its haunted by her spirit. So I’m kind of making myself want to go do this tour while I think about it.

From The Journal Of Screenwriting V1 Issue 1: Creating Authorship? Lindsay Anderson and David Sherwin’s collaboration on If. (1968) by Isabelle Gourdin-Sangouard

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


Creating Authorship? Lindsay Anderson and David Sherwin’s collaboration on If. (1968) by Isabelle Gourdin-Sangouard
 
This article draws upon the research currently undertaken for my doctoral thesis and is meant to act as a complementary study of Lindsay Anderson and David Sherwin’s partnership on If. (1968), following Charles Drazin’s 2008 article for the Journal of British Cinema and Television, If before If. Charles Drazin (2008: 318) highlights the idea of a creative dynamic underlying the working partnership between Lindsay Anderson and David Sherwin on If., as well as in the subsequent projects they developed together. The following article aims to uncover the nature of the creative dynamic suggested by Drazin’s article by looking at both the personal and the artistic dimensions that the working relationship assumed. The aim is to highlight the distinctiveness of their collaboration in the cinema; the article will show that in the course of this collaborative work they realized their artistic potential through an exchange of expertise, and that their collaboration helped to bring about an alternative approach to the conventional opposition between screenwriter and director, especially when it comes to claiming authorship over a film.


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!

07 Storytelling And Unreliable Narrators from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute 30 seconds)

Watch this entire presentation

07 Storytelling And Unreliable Narrators from Why Researching Screenwriters (has Always) Mattered

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

 

Transcript:

Stories have always transmitted culture. If we go far back to the cave paintings of many ancient cultures, to Gilgamesh, to the griots of Africa, we have always used stories to move forward our culture, right, and movies are just the most current version of doing that.

So why do we forget who the storytellers are? That doesn’t make any sense to me, right, and I think there are some reasons that we can fix both in our own casual discussions of films and in the teaching that people might do about what is important, right? One of the first things I discovered in my research is this issue of unreliable narrators. Often we find when people are interviewed to discuss films they chose not to credit anyone who will take away their own fame.So this is one of the most egregious quotes. Alfred Hitchcock, who everyone seems to recognize — you say that you’re watching a Hitchcock film — but he did not write any of his films. He had many other writers who worked for him. This photograph is a woman named Eve Unsell and she’s from the early 1920s in Hollywood. At one point, she was sent to England to work in the studio there and she trained this young man who knew nothing about how films were made and when he wrote about her in his biography, he didn’t mention her name so you could research her. He only said “a middle-aged American woman.” He wrote her out of history as nothing but a middle-aged woman and yet she taught him everything he knows. So, in fact, his movies are Eve Unsell movies but we don’t think that way.

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 23: Satire and Melodrama in a Newspaper Play Entitled “Clear All Wires”, 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 “When Women Wrote Hollywood” Archives 23: Satire and Melodrama in a Newspaper Play Entitled “Clear All Wires”, New York Times

From The

With the perspiring assistance of Thomas Mitchell, who acts like a steam locomotive, the Spewacks have tossed another one of those melodramatic lampoons at the newspaper profession in “Clear All Wires,” put on at the Times Square last evening. It is brisk, noisy, extravagant and funny in “The Front Page” and “Broadway” tradition. 


Buy “When Women Wrote Hollywood” Today!

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

08 Edith Wharton’s Ghost Stories from When Women Write Horror with Dr. Rosanne Welch [Video] (1 minute 3 seconds)

Watch this entire presentation

08 Edith Wharton's Ghost Stories from When Women Write Horror with Dr. Rosanne Welch

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:

Now Edith Wharton is somebody people sometimes had to study in high school especially if you did an AP sort of literature class and she’s fascinating because she is the first woman ever to win a Pulitzer Prize. Which is huge for a woman right in 1927 — which I think is great — for The Age Of Innocence which was turned into a film. This is a whole section of her books here. We teach her in schools. Sometimes kids find her boring because the world she writes about was that world of proper manners and all that sort of thing and they have to really work through why this is interesting. I think we should teach some of her ghost stories. If we taught her ghost stories how more interested would an audience be and then maybe they’d want to read the more grown-up world and society that she’s, you know, satirizing. I think it’s really cool that she put out all these ghost stories back in the day. Afterward is her ghost story for Christmas, which is nothing more than what Charles Dickens did with A Christmas Carol. We read him every year. There’s been how many versions of a Christmas carol made into films including The Muppets which is the best one.

From The Journal Of Screenwriting V1 Issue 1: Tonino Guerra: the screenwriter as a narrative technician or as a poet of images? by Riikka Pelo

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


Tonino Guerra: the screenwriter as a narrative technician or as a poet of images? Authorship and method in the writerdirector relationship by Riikka Pelo

The article focuses on the invisible role of the screenwriter and makes observations about the screenwriter’s part in the process of writing a screenplay together with a director. By studying the two examples of the collaboration between the screenwriter and poet Tonino Guerra with the directors Michelangelo Antonioni and Andrei Tarkovsky, the intention is to follow the ways in which authorship is both constituted and shared in such a liaison. I observe how the craft of the screenwriter is understood in relation to the different aspects of his task. By focusing on the case study around the writing of the film Nostalghia/Nostalgia (1983), I also consider how responsibility in developing these aspects is shared between screenwriter and director during different phases of a screenwriting process: in gathering ideas, sketching, building the story structure, writing drafts, rewriting and completing the final draft.


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!

Event: Stephens MFA in TV and Screenwriting Online Open House – Thursday, April 23, 2020

Event: Stephens MFA in TV and Screenwriting Online Open House - Thursday, April 23, 2020

Click To Register For The Conference

Write
Reach
Represent

Online Open House with
Program Executive Director Dr. Rosanne Welch
and Director of Admissions Sally Bohlinger

Stephens College Low Residency M.F.A in TV and Screenwriting

  • London, United Kingdom Fri, Apr 24, 2020 at 12:30 am BST
  • Eastern Time, ET Thu, Apr 23, 2020 at 7:30 pm EDT
  • Central Time, CT Thu, Apr 23, 2020 at 6:30 pm CDT
  • Mountain Time, MT Thu, Apr 23, 2020 at 5:30 pm MDT
  • Pacific Time, PT Thu, Apr 23, 2020 at 4:30 pm PDT
  • Sydney, Australia Fri, Apr 24, 2020 at 9:30 am AEST 

Learn more about this ground-breaking program focused on bringing more female and underrepresented voices into the mainstream media. The MFA boasts an impressive record of success and some of the best faculty and mentors in the industry.

RSVP for Conference Links to gradmissions@stephens.edu