On Screenwriting and Media with Dr. Rosanne Welch
Writing, Film, Television and More!
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
THELMA
I don’t ever remember feeling this awake..
“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
María de los Ángeles Félix Güereña, known as María Félix (Spanish: [maˈɾi.a ˈfeliks]; 8 April 1914 – 8 April 2002), was a Mexican film actress and singer. Along with Pedro Armendáriz and Dolores del Río, she was one of the most successful figures of Latin American cinema in the 1940s and 1950s. Considered one of the most beautiful actresses of Mexican cinema, her taste for the finesse and strong personality garnered her the title of diva early in her career.[3] She was known as La Doña, a name derived from her character in the film Doña Bárbara (1943), and María Bonita, thanks to the anthem composed exclusively for her, as a wedding gift by her second husband, the Mexican composer Agustín Lara. She completed a film career that included 47 films made in Mexico, Spain, France, Italy and Argentina.[4] She was also considered one of the most important female figures in the Golden Age of Mexican cinema. — Wikipedia
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
Bridges and gaps: The Singing Detective’s serial afterlife by Sean O’Sullivan
The Singing Detective has long been considered a high point of televisual storytelling. But what is its specific legacy as a serial narrative, particularly in the contemporary U.S. context of ambitious dramas? In many ways, the experiment of The Singing Detective remains an outlier. If the likes of Mad Men and The Sopranos have re-invigorated seriality by emphasizing the gaps between episodes—by making the narrative broken rather than connected—The Singing Detective’s continuing contribution lies in its insistence on bridging the disparate parts that make a serial: old and new, sound and image, memory and imagination, ritual and eccentricity.
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!
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
RILEY
Anyone crazy enough to believe us isn’t gonna want to help.
“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
Dolores Clara Fernández Huerta (born April 10, 1930) is an American labor leader and civil rights activist who, with Cesar Chavez, is a co-founder of the National Farmworkers Association, which later merged with the Agricultural Workers Organizing Committee to become the United Farm Workers (UFW).[1] Huerta helped organize the Delano grape strike in 1965 in California and was the lead negotiator in the workers’ contract that was created after the strike.[2]
Huerta has received numerous awards for her community service and advocacy for workers’, immigrants’, and women’s rights, including the Eugene V. Debs Foundation Outstanding American Award, the United States Presidential Eleanor Roosevelt Award for Human Rights[3] and the Presidential Medal of Freedom.[4] She was the first Latina inducted into the National Women’s Hall of Fame, in 1993.[5][6]
Huerta is the originator of the phrase, “Sí, se puede“.[7] As a role model to many in the Latino community, Huerta is the subject of many corridos (Mexican or Mexican-American ballads) and murals.[8]
In California, April 10 is Dolores Huerta Day.[9] — Wikipedia
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
‘Message for Posterity’: The Singing Detective (1986) 25 years on by John R. Cook
This article offers a reappraisal of Dennis Potter’s television script for The Singing Detective (BBC, 1986) in the 25th anniversary period of the production’s first broadcast. The article reviews the history of the author’s intellectual engagement with The Singing Detective – of what it meant to him then, when he first saw the production in 1986 and of what it means to him now. It discusses the relationship of The Singing Detective to literary modernism, particularly James Joyce’s novel, Ulysses published in 1922. It examines debates on whether Potter is a postmodern writer and also explores the relationship of The Singing Detective to psychoanalysis. It concludes by arguing that Potter’s TV screenplay for The Singing Detective is best seen as a religious work in which spirituality is redefined as the capacity for human beings to reshape their own reality. In this lies Potter’s Christian optimism and The Singing Detective stands as his message for posterity in this regard.
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!
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
MERIDA
I am Merida, firstborn descendant of Clan Dunbroch. And I’ll be shooting for my own hand!
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
And the beat goes on: The continuing influence of The Singing Detective by Glen Creeber
From the 25 years of its original broadcast on British television in December 1986, this article aims to assess the continued influence of the British TV serial, The Singing Detective (BBC). It aims to clarify many of the major techniques employed in the programme and suggest ways in which its particular style and non-naturalistic aesthetic (with its roots dating back to the early 1960s) has influenced a whole generation of TV drama since. In particular, it will draw direct parallels between writer Dennis Potter’s work and serials such as Twin Peaks, Oz, Six Feet Under and The Sopranos, citing various sources that suggest these connections are more than just hypothetical. The American cable channel HBO (Home Box Office) will come under particular focus, with the author drawing links between its current remit to produce experimental and adult-themed drama and Potter’s own work. It will then investigate the state of contemporary British television drama and suggest why it arguably refuses to take as many risks as some of its American counterparts, citing various sources which suggest that contemporary British hard-hitting drama appears to have been forsaken for a plethora of heritage and period-based serials. In conclusion, it will argue that while the influence of The Singing Detective appears to have been profoundly significant elsewhere, its dramatic legacy is now surprisingly missing from British TV screens.
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!
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
TORRANCE
You’re a great cheerleader, Aaron, and you’re cute as hell, but maybe you’re just not ‘boyfriend’ material.
“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
Selma Hortense Burke (December 31, 1900 – August 29, 1995) was an American sculptor and a member of the Harlem Renaissance movement.[1] Burke is best known for a bas relief portrait of President Franklin D. Roosevelt that inspired the profile found on the obverse of the dime.[2] She described herself as “a people’s sculptor” and created many pieces of public art, often portraits of prominent African-American figures like Duke Ellington, Mary McLeod Bethune and Booker T. Washington.[3][4] In 1979, she was awarded the Women’s Caucus for Art Lifetime Achievement Award[5]