Tag: research

Where’s Her Movie? Entertainer and Nurse, Martha Raye

“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

Where's Her Movie? Entertainer and Nurse, Martha Raye

Read more about Martha Raye

from Mike Zimmerle via Facebook…

“It was well recognized that Martha Raye endured less comfort and more danger than any other Vietnam entertainer. Don’t let the sun go down without reading this about Martha Raye.

The most unforgivable oversight of TV is that her shows were not taped. I was unaware of her credentials or where she is buried. Somehow I just can’t see Brittany Spears, Paris Hilton, or Jessica Simpson doing what this woman (and the other USO women, including Ann Margaret & Joey Heatherton) did for our troops in past wars. Most of the old time entertainers were made of a lot sterner stuff than today’s crop of activists bland whiners.

The following is from an Army Aviator who takes a trip down memory lane:

“It was just before Thanksgiving ’67 and we were ferrying dead and wounded from a large GRF west of Pleiku. We had run out of body bags by noon, so the Hook (CH-47 CHINOOK) was pretty rough in the back. All of a sudden, we heard a ‘take-charge’ woman’s voice in the rear. There was the singer and actress, Martha Raye, with a SF (Special Forces) beret and jungle fatigues, with subdued markings, helping the wounded into the Chinook, and carrying the dead aboard. ‘Maggie’ had been visiting her SF ‘heroes’ out ‘west’. We took off, short of fuel, and headed to the USAF hospital pad at Pleiku. As we all started unloading our sad pax’s, a ‘Smart Mouth’ USAF Captain said to Martha…. “Ms Ray, with all these dead and wounded to process, there would not be time for your show!” To all of our surprise, she pulled on her right collar and said ……”Captain, see this eagle? I am a full ‘Bird’ in the US Army Reserve, and on this is a ‘Caduceus’ which means I am a Nurse, with a surgical specialty….now, take me to your wounded!” He said, “Yes ma’am…. follow me.” Several times at the Army Field Hospital in Pleiku, she would ‘cover’ a surgical shift, giving a nurse a well-deserved break. Martha is the only woman buried in the SF (Special Forces) cemetery at Ft Bragg. Hand Salute! A great lady.. I did not know this about Martha Ray…. thought you might like it.”

Related posts:

  1. From The “When Women Wrote Hollywood Archives: ‘Movie Plots Pushed into Prose’: The Extra Girl, Will Hays, and the Novel of Silent Hollywood by Justin Gautreau
  2. From The “When Women Wrote Hollywood” Archives 25 : Garson Kanin, a Writer and Director of Classic Movies and Plays, Is Dead at 86
  3. 33 Mickey and Martha from Gender Diversity in the Who-niverse [Video] (1:01)
  4. From The “When Women Wrote Hollywood” Archives 26: Adela St. Johns, . The Honeycomb. Garden City, N.Y.: Doubleday, 1969.
  5. From The “When Women Wrote Hollywood Archives 35: The Collected Lorna Moon

34 Coco and Exposure To Different Cultures from Why Researching Screenwriters Has Always Mattered [Video] (2 mins)

Watch this entire presentation

34 Coco and Exposure To Different Cultures from Why Researching Screenwriters Has Always Mattered [Video] (2 mins)

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Transcript:

One of my favorite examples of how important it is to see culture travel through these streaming services is the film — it’s called Coco in the United States. It’s called Vivo here. When my cousins — my cousins are from Sicily — my grandparents immigrated to the United States from Sicily and their relatives stayed behind. So I’m related and connected to third and fourth cousins who live there. They came to visit me at Christmas this year and we were discussing Halloween, which I laughed at because I noticed some Halloween decorations in places I traveled around town today, and my cousin said in Italy Halloween is not very important because of course being a Catholic country what is important is that this is the Day of All Souls and so it’s a religious holiday. Only in you know only in Italy is that important and I said oh haven’t you ever heard of the Day of the Dead in Mexico and she had not because in Italy they haven’t studied Mexican culture. So I mentioned this movie which she had never seen but her 10-year-old son had seen it. The problem was on Netflix it was only running in English or Spanish and they’re Italian but their 10-year-old is studying Spanish in school. So at my house, we turned on Netflix. We watched the movie in Spanish with English subtitles to remind me because I’d seen it but I wanted to remember the story and any time the Italians lost track of this Spanish language we would pause and the ten-year-old would translate the Spanish into Italian and we’d all catch up and continue and in that way, they learned the story of the Day of the Dead — Dia de Los Muertos through this movie and they were so moved by the theme of the movie which again is such a universal theme that we should honor our ancestors and that we owe it to them right to live up to their history. It was a beautiful example of what Netflix is capable of doing — what streaming services are capable of doing for us and how important story is.

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

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Related posts:

  1. 01 Introduction from Why Researching Screenwriters (has Always) Mattered – Dr. Rosanne Welch [Video] (1 minute)
  2. 02 About Dr. Rosanne Welch from Why Researching Screenwriters (has Always) Mattered – Dr. Rosanne Welch [Video] (1 minute 12 seconds)
  3. 33 The First Six Years from Why Researching Screenwriters Has Always Mattered [Video] (49 seconds)
  4. 29 Screenwriters Are Important from Why Researching Screenwriters (has Always) Mattered [Video] (52 seconds)
  5. 06 Stories Are Important! from Why Researching Screenwriters (has Always) Mattered [Video] (51 seconds)

From The Journal Of Screenwriting V2 Issue 2: Some attitudes and trajectories in screenwriting research by Steven Maras

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

Some attitudes and trajectories in screenwriting research by Steven Maras
 
An edited extract from a keynote address at the third Screenwriting Research Network conference, ‘Screenwriting Research: History, Theory and Practice’, at the University of Copenhagen in 2010,1 this piece focuses on what I have termed the ‘object problem’ in screenwriting research. I pay specific attention to how we might address the object problem by thinking about different attitudes and trajectories in screenwriting research.

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!

Related posts:

  1. From The Journal Of Screenwriting V2 Issue 1: The aesthetic independence of the screenplay by M.-R Koivumki
  2. From The Journal Of Screenwriting V2 Issue 2: The first screenplays? American Mutoscope and Biograph scenarios revisited by Steven Price
  3. From The Journal Of Screenwriting V1 Issue 2: Who Writes British Films: A Summary on the UKFC Report and a Call for Further Research by Susan Rogers
  4. From The Journal Of Screenwriting V1 Issue 2: The early screenwriting practice of Ernest Lehman by Ted Nannicelli
  5. From The Journal Of Screenwriting V1 Issue 2: First of all, the screenplay problem has to be solved: the public debate on screenwriting in 1930s Finland by Raija Talvio

33 The First Six Years from Why Researching Screenwriters Has Always Mattered [Video] (49 seconds)

Watch this entire presentation

33 The First Six Years from Why Researching Screenwriters Has Always Mattered [Video] (49 seconds)

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

 

Transcript:

I read once that Tennessee Williams, who’s a famous playwright in the United States, had said that most writers work from the emotions of the first six years of their life and some people laughed at that and I laughed at that and then I realized that in many episodes that I had written, a recurring theme that I tend to go to is that — to be a father is the most important job in your life and you should take it seriously. My father left when I was six years old. Until looking backward at things that I had written I did not notice the repetition of that theme. Clearly, it means something to me. Everybody doesn’t have that experience but everybody has been abandoned in some way or another. We recognize that emotion of loss and that’s what we sell

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

Podcast: Play in new window | Download

Subscribe: RSS

Related posts:

  1. 05 Do You Know Who Wrote Your Favorite Films? from Why Researching Screenwriters (has Always) Mattered [Video] (51 seconds)
  2. 32 You Should Write What (Emotions) You Know from Why Researching Screenwriters Has Always Mattered [Video] (28 seconds)
  3. 28 Screenwriting Education Flaws from Why Researching Screenwriters (has Always) Mattered [Video] (56 seconds)
  4. 29 Screenwriters Are Important from Why Researching Screenwriters (has Always) Mattered [Video] (52 seconds)
  5. 06 Stories Are Important! from Why Researching Screenwriters (has Always) Mattered [Video] (51 seconds)

Recent Excellent Review of “When Women Wrote Hollywood” in The Journal of American Culture

The Journal of American Culture

I’m happy to say our book just received a review in The Journal of American Culture.

The reviewer (from the University College of North Manitoba, Canada) singled out several chapters for being outstanding for various reasons.  They found Amelia Phillips’s chapter on Jeanne Macpherson to demonstrate “exacting research”, Julie Berkobien’s chapter on Francis and Albert Hackett to be “beautifully crafted” and Chase Thompson’s chapter on Lois Weber to be “trailblazing”.  They found that Pamela Scott gives “thorough and measured” coverage to the scripts of Sarah Y. Mason and Victor Heerman; Laura Kirk “comprehensively” examines Sam and Bella Spewak’s signature style;  Kelly Zinge authored “carefully detailed discussion” of Lillian Hellman’s confrontation with the Blacklist, and that Elizabeth Dwyer’s work on Dorothy Parker is “riveting.”

Congratulations to all the contributors to our book!

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

Related posts:

  1. From The “When Women Wrote Hollywood Archives 32: The Writers: A History of American Screenwriters and Their Guild by Miranda J Banks
  2. From The “When Women Wrote Hollywood” Archives 22: Latitude in Mass-Produced Culture’s Capital: New Women and Other Players in Hollywood, 1920-1941
  3. From The “When Women Wrote Hollywood Archives 34: Women Filmmakers in Early Hollywood by Karen Ward Mahar
  4. From The “When Women Wrote Hollywood” Archives 18: “Lillian Hellman: A ‘Difficult’, Villified Woman.”, NPR, Maureen Corrigan
  5. From The “When Women Wrote Hollywood Archives 37: Universal Women: Filmmaking and Institutional Change in Early Hollywood

From The Journal Of Screenwriting V2 Issue 2: Re-writing Paul Laverty’s screenplay – The Wind that Shakes the Barley (2006) by Jill Nelmes

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

Re-writing Paul Laverty’s screenplay – The Wind that Shakes the Barley (2006) by Jill Nelmes

This article analyses two drafts of Paul Laverty’s screenplay The Wind that Shakes the Barley (2004b, 2005), pointing out that the changes from the first draft to the second draft focus on a single protagonist and emphasize the narrative drive, prioritizing these over informational detail and scenes which do not have a clear narrative function. In this study, I argue, re-writing acts as a refining and filtering process, in which only the essential parts of the story are retained while the model of ‘cause’ then ‘effect’ is applied to ensure the linearity of the action.

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!

Related posts:

  1. From The Journal Of Screenwriting V1 Issue 2: Time, space and movement: screenplay as oral narrative by Adam Ganz
  2. From The Journal Of Screenwriting V1 Issue 2: Collaboration and control in the development of Janet Green’s screenplay Victim by Jill Nelmes
  3. From The Journal Of Screenwriting V2 Issue 1: The aesthetic independence of the screenplay by M.-R Koivumki
  4. From The Journal Of Screenwriting V1 Issue 2: First of all, the screenplay problem has to be solved: the public debate on screenwriting in 1930s Finland by Raija Talvio
  5. From The Journal Of Screenwriting V3 Issue 1: ‘To see a script’: Jean-Luc Godard’s re-envisioning of screenwriting in Passion (1982) and Scénario du film Passion by Jill Murphy

32 You Should Write What (Emotions) You Know from Why Researching Screenwriters Has Always Mattered [Video] (28 seconds)

Watch this entire presentation

32 You Should Write What (Emotions) You Know from Why Researching Screenwriters Has Always Mattered

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

 

Transcript:

When I teach my students about writing, there’s the quote “you should write what you know” and sometimes people think that means if you come from a family where your father’s a policeman you should write about policemen. If you yourself were a high school teacher you should write about teachers. It doesn’t mean, to me, you should write your experiences only. It means you should write the emotions that you know because the emotions are what are universal and that’s what sells to other people.

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

Podcast: Play in new window | Download

Subscribe: RSS

Related posts:

  1. 31 If You Censor Storytellers…You Censor Culture from Why Researching Screenwriters Mattered [Video] (36 seconds)
  2. 19 Nunnally Johnson and John Ford from Why Researching Screenwriters (has Always) Mattered [Video] (51 seconds)
  3. 29 Screenwriters Are Important from Why Researching Screenwriters (has Always) Mattered [Video] (52 seconds)
  4. 06 Stories Are Important! from Why Researching Screenwriters (has Always) Mattered [Video] (51 seconds)
  5. 26 The Great Depression from Why Researching Screenwriters (has Always) Mattered [Video] (45 seconds)

When Women Wrote Hollywood: The Movies – 11 in a series – The Beloved Blackmailer (1918), Wr: Clara Beranger

When Women Wrote Hollywood: The Movies - 11 in a series - The Beloved Blackmailer (1918), Wr: Clara Beranger

When Women Wrote Hollywood: The Movies - 11 in a series - The Beloved Blackmailer (1918), Wr: Clara Beranger

The spoiled, somewhat “mama’s boy” young son of a railroad magnate and the pretty young daughter of the magnate’s partner set out to stop their respective fathers from their constant quarreling. In the process they find themselves falling for each other. – IMDB

More about Lorna Moon

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

Related posts:

  1. When Women Wrote Hollywood: The Movies – 8 in a series – Blue Jeans (1917) Wr: June Mathis
  2. From The “When Women Wrote Hollywood” Archives 15: Peace Begins At Home by Clara Beranger
  3. When Women Wrote Hollywood: The Movies – First in a series – Fanchon, the Cricket by Frances Marion
  4. When Women Wrote Hollywood: The Movies – 3 in a series – The Captive (1915) Wr: Jeannie MacPherson
  5. When Women Wrote Hollywood: The Movies – 7 in a series – “it” (1927, Wr: Eleanor Glyn

From The Journal Of Screenwriting V2 Issue 2: Britain’s First Suicide Bombers – The script and the screenwriter in dramatized documentary for television by Garry Lyons

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

Britain’s First Suicide Bombers – The script and the screenwriter in dramatized documentary for television by Garry Lyons

This article centres on a drama-documentary developed by the author, an experienced screenwriter, producer and academic. The project in question was a major featurelength film for the BBC about the first suicide attack carried out by UK citizens. Aside from the significant difficulties posed by the subject matter, the mixed-genre nature of the film made its development problematic, falling between two distinct and contrasting traditions of programme-making. This case study locates the project in the context of a rising fashion for dramadoc within the BBC post 2000, identifies unforeseen difficulties with screenwriting that arose with the use of the form, and illustrates how those difficulties became amplified in this particular production. The analysis deals with the status of the screenwriter in a process where the script is no longer sovereign, raising questions of authorship, division of labour and collaborative exchange. It contributes to the ongoing debate between documentary values of sobriety and objectivity as opposed to dramatic ones of inner truth and emotional understanding, and makes the case for an ‘accumulation of voices’ as a justifiable representation of reality in contrast to a linear expository narrative. Finally, it commends further study of mixed genre drama/ documentary as a way of reappraising orthodox screenwriting theory, offering as it does production methodologies that frequently dispense with the formal screenplay.

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!

Related posts:

  1. From The Journal Of Screenwriting V1 Issue 2: The constructive use of film genre for the screenwriter: mental space of film genre first exploration by Jule Selbo
  2. From The Journal Of Screenwriting V1 Issue 1: Screenwriting strategies in Marguerite Duras’s script for Hiroshima, Mon Amour (1960) by Rosamund Davies
  3. From The Journal Of Screenwriting V3 Issue 1: ‘To see a script’: Jean-Luc Godard’s re-envisioning of screenwriting in Passion (1982) and Scénario du film Passion by Jill Murphy
  4. From The Journal Of Screenwriting V1 Issue 1: So it’s not surprising I’m neurotic The Screenwriter and the Screen Idea Work Group by Ian W Macdonald
  5. 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

31 If You Censor Storytellers…You Censor Culture from Why Researching Screenwriters Mattered [Video] (36 seconds)

Watch this entire presentation

31 If You Censor Storytellers...You Censor Culture from Why Researching Screenwriters Mattered

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

 

Transcript:

If you censor the storytellers you’re going to censor the stories and that’s why we get such a small block of stories that are repeated over and over and over again, right, and this makes me crazy. Stories equal culture. So if we censor the stories, we are censoring these moments of culture. We’re not allowing people to learn about these other people and their struggles, which is what art has always been about, right, about highlighting these ideas. Now, this is where we come to streaming because streaming services are finally our chance to show all the many cultures of the world to each other, right? You can’t really block them, which I think is fascinating.

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

Podcast: Play in new window | Download

Subscribe: RSS

Related posts:

  1. 19 Nunnally Johnson and John Ford from Why Researching Screenwriters (has Always) Mattered [Video] (51 seconds)
  2. 29 Screenwriters Are Important from Why Researching Screenwriters (has Always) Mattered [Video] (52 seconds)
  3. 06 Stories Are Important! from Why Researching Screenwriters (has Always) Mattered [Video] (51 seconds)
  4. 26 The Great Depression from Why Researching Screenwriters (has Always) Mattered [Video] (45 seconds)
  5. 27 The Writers Guild from Why Researching Screenwriters (has Always) Mattered [Video] (51 seconds)