“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
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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.
Watch this entire presentation
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
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
AMBER
Ms. Stoeger, my plastic surgeon doesn’t want me doing any activity where balls fly at my nose.
“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
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
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.
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 aim of this article is to examine how the writer, through the means of the screenplay text, communicates the potential film to the reader. The article argues that the screenplay text’s reason for existing is to communicate the potential film, and that analysing a screenplay text through a communicational approach therefore is suitable. The author will ask what type of information is communicated, who it is that communicates and how the communication appears in the text. The article will propose a model that displays the different narrating voices that can be found in screenplay texts, and a set terminology for the narrating voices that clearly position them in relation to the text and the information they provide will be proposed. The examination of extracts from published screenplays further enables the author to identify how the use of the different narrating voices situates the reader at a certain distance from the story.
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.
Some like to teach that writers shouldn’t “direct on the page.”
But in fact, most of the screenwriters who sell and win Oscars are people whose voice on the page is recognizable.
Those are the screenplays that sell because a person at a studio has to read the script and envision the movie. If they don’t see it, they don’t buy it.
Subscribe to Rosanne’s Channel and receive notice of each new video!
Transcript:
…And that’s very important why, when we’re teaching screenwriting — It’s funny. People who come from a directing background like to teach that writers shouldn’t “direct on the page.” Don’t say things about where the camera should go. Don’t say how the actor is feeling. Don’t talk casually. But in fact, most of the screenwriters who sell and win Oscars are people whose voice is so recognizable. Aaron Sorkin sounds like Aaron Sorkin in everything he does. Every single piece of action is as if you are sitting there talking to him. Right? William Goldman did that. most of the big names — Nora Ephron — who was a major American female screenwriter. Their personality comes through in the lines and they do tell the director “I need this. I need this closeup. I want this moment. This is exactly what needs to happen here. Those are the screenplays that do sell because a person at a studio has to read the thing and envision the movie. If they don’t see it. They don’t buy it and they don’t make it. So that piece of advice has never worked for me.
Watch this entire presentation
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
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
AGADOR
“My guatemalaness. My natural heat. You’re afraid I’m too primitive to perform with your little estrogen Rockettes.”
“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
Rebecca Lee Crumpler, born Rebecca Davis, (February 8, 1831 – March 9, 1895), was an American physician and author. After studying at the New England Female Medical College, in 1864 she became the first African-American woman to become a doctor of medicine in the United States.[a] Crumpler was one of the first female physician authors in the nineteenth century.[4] In 1883, she published A Book of Medical Discourses. The book has two parts that cover the prevention and cure of infertile bowel complaints, and the life and growth of human beings. Dedicated to nurses and mothers, it focuses on maternal and pediatric medical care and was among the first publications written by an African American about medicine.
Crumpler graduated from medical college at a time when very few African Americans were allowed to attend medical college or publish books. Crumpler first practiced medicine in Boston, primarily serving poor women and children. After the American Civil War ended in 1865, she moved to Richmond, Virginia, believing treating women and children was an ideal way to perform missionary work. Crumpler worked for the Freedmen’s Bureau to provide medical care for freed slaves.
She was subject to “intense racism” and sexism while practicing medicine. During this time, many men believed that a man’s brain was 10 percent bigger than a woman’s brain on average, and that a woman’s job was to act submissively and be beautiful. Because of this, many male physicians did not respect Rebecca Lee Crumpler, and would not approve her prescriptions for patients or listen to her medical opinions. Still, Rebecca Lee Crumpler persevered and worked passionately.
She later moved back to Boston to continue to treat women and children. The Rebecca Lee Pre-Health Society at Syracuse University and the Rebecca Lee Society, one of the first medical societies for African-American women, were named after her. Her Joy Street house is a stop on the Boston Women’s Heritage Trail. — Wikipedia
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