Tag: screenwriting research network

Where’s Her Movie? Civil Rights Activist, Elizabeth Peratrovich – 5 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

Where's Her Movie? Civil Rights Activist, Elizabeth Peratrovich - 5 in a series

By Source, Fair use, Link

from Wikipedia…

Elizabeth Peratrovich (née Elizabeth Jean Wanamaker, Tlingit name: Kaaxgal.aat; July 4, 1911 – December 1, 1958)[1] was an American civil rights activist, Grand President of the Alaska Native Sisterhood,[2] and member of the Tlingit nation who worked for equality on behalf of Alaska Natives.[3] In the 1940s, her advocacy was credited as being instrumental in the passing of Alaska’s Anti-Discrimination Act of 1945, the first state or territorial anti-discrimination law enacted in the United States.

In 1988, the Alaska Legislature established February 16 as Elizabeth Peratrovich Day “for her courageous, unceasing efforts to eliminate discrimination and bring about equal rights in Alaska”.[2][4] In March 2019, her obituary was added to The New York Times as part of their “Overlooked No More” series,[5] and in 2020, the United States Mint released a $1 gold coin inscribed with Elizabeth’s likeness in honor of her historic achievements.[6] The Peratrovich family papers, including correspondence, personal papers, and news clippings related to the civil-rights work done by Elizabeth and her husband, are currently held at the Smithsonian National Museum of the American Indian.[7]

Related posts:

  1. Where’s Her Movie? Astronomer, Margaret Harwood – 4 in a series
  2. Where’s Her Movie? Painter, Artemisia Gentileschi – 3 in a series
  3. Where’s Her Movie? Aviator, Jackie Cochran
  4. Where’s Her Movie? Entertainer and Nurse, Martha Raye
  5. 03 Elizabeth Gaskell from When Women Write Horror with Dr. Rosanne Welch [Video] (1 minute 3 seconds)

04 Down With The Auteur Theory from There And Back Again: Writing and Developing for American TV [Video] (54 seconds)

04 Down With The Auteur Theory from There And Back Again: Writing and Developing for American TV [Video] (54 seconds)

Thanks to the gracious invitation from my Screenwriting Research Network colleague Paolo Russo – and a grant he was able to procure (and in the before-Covid time) I was able to spend a week at Oxford Brookes University working with the screenwriting masters students in Paolo’s course. At the culmination of the week, I gave this lecture on how writers rooms worked in the States.

Transcript:

Writers. Really. Matter. I think it’s really true The Auteur Theory — and I don’t want to pick on the French — hopefully, there’s no one french in here — I’m picking on you — not my probably looking at your French friend, right — many people are now tearing down the Auteur Theory because it’s ridiculous. The director is not the only person responsible for why a film works. It has always begun with a writer. Yes, it moves to a director but that’s a collaboration and we made a mistake. Some people have written about the fact that in the early days of film critique critics couldn’t go through two or three names of writers so they went to the director’s name because it was the only one person named and slowly that became the idea of who the auteur was right? It’s not true. Vince Gilligan, very famous in America for Breaking Dad. Really considered one of our best showrunners — one of our best television writers — pretty much says it and I agree with him.

Watch this entire presentation

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Related posts:

  1. 03 Why Writers Matter from There And Back Again: Writing and Developing for American TV [Video] (41 seconds)
  2. 02 Writers Matter from There And Back Again: Writing and Developing for American TV [Video] (1 minute 3 seconds)
  3. There And Back Again: Writing and Developing for American Television]: from Freelancing to Writers Rooms [Video] (52 minutes)
  4. 01 Introduction from There And Back Again: Writing and Developing for American Television]: from Freelancing to Writers Rooms [Video] (1 minute)
  5. 21 Truffaut and The Auteur Theory from Why Researching Screenwriters (has Always) Mattered [Video] (56 seconds)

From The Journal Of Screenwriting V3 Issue 2: Giving credit where credit is due: Frances Goodrich Hackett and Albert Hackett and The Thin Man 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

Giving credit where credit is due: Frances Goodrich Hackett and Albert Hackett and The Thin Man by Dr. Rosanne Welch

This article addresses the long-lived literary and popular culture assumption that the beloved characters of Nick and Nora Charles in the MGM film The Thin Man (1934) were representations of the relationship between novelist Dashiell Hammett and his lover, playwright Lillian Hellman. However, in a comparison of the screenplay to the novel, the screenplay’s specific dialogue and plot changes incorporated by married screenwriters Frances Goodrich Hackett and Albert Hackett can lead to a different conclusion. I will explore the Nick and Nora marriage that has served for so many years as a benchmark in romantic comedy relationships and propose that, in fact, this relationship was based largely on the marriage shared by the Hackett’s. The results of my exploration suggests credit to the screenwriting couple and serves as evidence that some screenplay adaptations often prove more enduring than their original source material.

Journal of Screenwriting Cover

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 “When Women Wrote Hollywood” Archives 17: After the Thin Man. Wrs: Frances Goodrich, Albert Hackett, and Dashiell Hammett. Dir: Van Dyke W. S. Metro-Goldwyn-Mayer, 1936, USA 112 mins.
  2. 17 Albert Hackett & Frances Goodrich from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute)
  3. From The Journal Of Screenwriting V3 Issue 2: Frances Marion: Censorship and the Screenwriter in Hollywood, 1929-1931 by Leslie Kreiner Wilson
  4. Frances Goodrich and Albert Hackett from Giving Voice to Silent Films and the Far From Silent Women Who Wrote Them with Dr. Rosanne Welch [Video]
  5. When Women Wrote Hollywood – 30 in a series – Frances Goodrich and Albert Hackett

The Civil War On Film – 11 in a series – “This national enthusiasm for the Lost Cause…”

This national enthusiasm for the Lost Cause

Lost Cause ideology, in its many iterations, maintained its grip on American movies for nearly eighty years, from Birth of a Nation (1915) to Gettysburg (1993). This national enthusiasm for the Lost Cause suggests white Americans, regardless of their regional roots, enjoy and believe the narrative.

Movies profiled in this book:

Related posts:

  1. The Civil War On Film – 8 in a series – “…Lost Cause adherents deny the immorality and cruelty of slavery….”
  2. The Civil War On Film – 5 in a series – “In our Civil War we didn’t fight outsiders…”
  3. The Civil War On Film – 4 in a series – “…the entire slave economy stood as a shining moment of magnolias and gentility.”
  4. The Civil War On Film – 10 in a series – …Thomas Ince’s films cemented the Plantation Myth.
  5. The Civil War On Film – 6 in a series – “…the so-called Irrepressible Conflict.”

Announcing the Journal of Screenwriting Special Issue: Women in Screenwriting with Editors, Dr. Rosanne Welch and Dr. Rose Ferrell

I’m happy to announce the publication of a special issue of the Journal of Screenwriting focused on “Women in Screenwriting” that I co-edited with my SRN colleague Rose Ferrell, lecturer at the Western Australian Academy of Performing Arts, at Edith Cowan University. 

While focusing on females was our first mandate, our second mandate was to be as international as possible.  This issue, then, includes articles about women in screenwriting covering five continents including countries such as Japan, China, Syria, Argentina, Brazil, Peru, Zimbabwe and Canada. — Rosanne

Announcing the Journal of Screenwriting Special Issue: Women in Screenwriting with Editors, Dr. Rosanne Welch and Dr. Rose Ferrell

 

Contents
Volume (11): Issue (3)
Cover date: 2020

  • Editorial introduction by Rose Ferrell, Rosanne Welch
  • Tang Cheng: The first female animation screenwriter and director in the People’s Republic of China by Shaopeng Chen
  • Scouting for scripts: Mizuki Yōko and social issue film in post-war Japan by Lauri Kitsnik
  • Who is the author of Neria (1992) – and is it a Zimbabwean masterpiece or a neo-colonial enterprise? by Agnieszka Piotrowska
  • The Hakawati’s Daughter: How the Syrian revolution inspired a rewrite by Rana Kazkaz
  • The silent women: The representation of Israeli female soldiers in Israeli women’s films by Mira Moshe, Matan Aharoni
  • How the scripts of Latin American screenwriters Lucrecia Martel (Argentina), Anna Muylaert (Brazil) and Claudia Llosa (Peru) have made a mark on the world stage by Margaret McVeigh, Clarissa Mazon Miranda
  • ‘Polite, no chill’ for the win: How Emily Andras engaged fans and overcame problematic tropes in Wynonna Earp by Tanya N. Cook
  • Battle of the sketches: Short form and feminism in the comedy mode by Stayci Taylor
  • Anita Loos Rediscovered: Film Treatments and Fiction, Cari Beauchamp and Mary Anita Loos (eds) (2003) by Cierra Winkler
  • Modern Film Dramaturgy: An Introduction, Kristen Stutterheim (2019) by Andrew Wickwire
  • Nobody’s Girl Friday: The Women Who Ran Hollywood, J. E. Smyth (2018) by Toni Anita Hull
  • How to Write for Moving Pictures: A Manual of Instruction and Information, Marguerite Bertsch (1917) by Diane Barley

Read article abstracts

Journal of screenwriting 94737 800x600

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!

Podcast: Play in new window | Download

Subscribe: RSS

Related posts:

  1. 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
  2. From The Journal Of Screenwriting V1 Issue 2: The early screenwriting practice of Ernest Lehman by Ted Nannicelli
  3. From The Journal Of Screenwriting V2 Issue 2: Some attitudes and trajectories in screenwriting research by Steven Maras
  4. From The Journal Of Screenwriting V2 Issue 2: Escape from the stage? From play to screenplay in British cinema’s early sound period by Victoria Lowe
  5. From The Journal Of Screenwriting V2 Issue 1: The aesthetic independence of the screenplay by M.-R Koivumki

The Civil War On Film – 10 in a series – …Thomas Ince’s films cemented the Plantation Myth.

The Civil War On Film - 10 in a series - ...Thomas Ince’s films cemented the Plantation Myth.

While D. W. Griffith is the most famous early Civil War filmmaker, Thomas Ince’s films cemented the Plantation Myth. Unlike Griffith, Ince had his family roots in New England, though he fell under the pro-southern spell early in his filmmaking career.

Movies profiled in this book:

Related posts:

  1. Now Available: The Civil War on Film (Hollywood History) by Dr. Rosanne Welch and Dr. Peg Lamphier via Instagram
  2. The Civil War On Film – 5 in a series – “In our Civil War we didn’t fight outsiders…”
  3. The Civil War On Film – 9 in a series – The earliest films were pro-Union…
  4. The Civil War On Film – 3 in a series – “…films doomed to be mediocre at best and ideologically horrifying at worst.”
  5. The Civil War On Film – 6 in a series – “…the so-called Irrepressible Conflict.”

Where’s Her Movie? Painter, Artemisia Gentileschi – 3 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

Where's Her Movie? Painter, Artemisia Gentileschi - 3 in a series

An Italian Baroque painter, Gentileschi began her careet at the age of 15, gained an international clientele, and was the first woman to become a member of the Accademia di Arte del Disegno in Florence (in the 1620s).  
 
She is now considered one of the most accomplished seventeenth-century artists. 

Read more about Artemisia Gentileschi

from Wikipedia…

Artemisia Lomi or Artemisia Gentileschi (US: /ˌdʒɛntiˈlɛski/,[1][2] Italian: [arteˈmiːzja dʒentiˈleski]; July 8, 1593 – c. 1656) was an Italian Baroque painter, now considered one of the most accomplished seventeenth-century artists, initially working in the style of Caravaggio. She was producing professional work by the age of fifteen.[3] In an era when women had few opportunities to pursue artistic training or work as professional artists, Artemisia was the first woman to become a member of the Accademia di Arte del Disegno in Florence and she had an international clientele.[4][5]

Many of Artemisia’s paintings feature women from myths, allegories, and the Bible, including victims, suicides, and warriors.[6] Some of her best known subjects are Susanna and the Elders (particularly the 1610 version in Pommersfelden), Judith Slaying Holofernes (her 1614–1620 version is in the Uffizi gallery), and Judith and Her Maidservant (her version of 1625 is in the Detroit Institute of Arts).

Artemisia was known for being able to depict the female figure with great naturalism,[7][8] and for her skill in handling color to express dimension and drama.[9][10]

Related posts:

  1. Where’s Her Movie? Aviator, Jackie Cochran
  2. Where’s Her Movie? Entertainer and Nurse, Martha Raye
  3. A Woman Wrote That – 4 in a series – Thelma and Louise by Callie Khouri (1991)
  4. A Woman Wrote That: “It’s A Wonderful Life”, Written by Frances Goodrich and Albert Hackett – 1 in a series
  5. A Woman Wrote That – 2 in a series – Lady Sings The Blues, Screenplay by Suzanne De Passe, Chris Clark, and Terence McCloy

A Woman Wrote That – 5 in a series – Sense and Sensibility by Emma Thompson (1995)

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

A Woman Wrote That - 5 in a series - Sense and Sensibility by Emma Thompson (1995)

COLONEL BRANDON: “Give me an occupation, Miss Dashwood, or I shall run mad.”

Sense and Sensibility Script

Related posts:

  1. A Woman Wrote That – 3 in a series – E.T. the Extra-Terrestrial
  2. A Woman Wrote That – 4 in a series – Thelma and Louise by Callie Khouri (1991)
  3. A Woman Wrote That: “It’s A Wonderful Life”, Written by Frances Goodrich and Albert Hackett – 1 in a series
  4. A Woman Wrote That – 2 in a series – Lady Sings The Blues, Screenplay by Suzanne De Passe, Chris Clark, and Terence McCloy
  5. Sense and Sensibility: The Screenplay and Diaries | Gifts for the Screenwriter #3

There And Back Again: Writing and Developing for American Television]: from Freelancing to Writers Rooms [Video] (52 minutes)

There And Back Again: Writing and Developing for American TV: from Freelancing to Writers Rooms

Thanks to the gracious invitation from my Screenwriting Research Network colleague Paolo Russo – and a grant he was able to procure (and in the before-Covid time) I was able to spend a week at Oxford Brookes University working with the screenwriting masters students in Paolo’s course. At the culmination of the week, I gave this lecture on how writers rooms worked in the States.

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

 


* 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. There And Back Again: Writing and Developing for American Television: From Freelancing to Writers Rooms – Dr. Rosanne Welch [Video] (52 Minutes)
  2. Event: Between the Sheets: Writing About Sex on Television – Writers Guild Foundation – Friday, January 12, 2019
  3. How The Chaos Of Collaboration in the Writers Room Created Golden Age Television, Dr. Rosanne Welch [Video] (22 Minutes)
  4. Panel Discussion: More Than A Period: Writing Girls Coming of Age Stories For TV [Video] (1 hour 27 minutes)
  5. 07 African-American Writers In History from When Women Write Horror with Dr. Rosanne Welch [Video] (53 seconds)

From The Journal Of Screenwriting V3 Issue 1: Television and film screenwriters: How to reach a global audience by Philippe Perebinossoff

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

Television and film screenwriters: How to reach a global audience by Philippe Perebinossoff

The focus of this article will be on an examination of American television and film projects and their inceptions and/or receptions in various marketplaces. In addition, the article will explore some of the specific cultural differences around the world that may be of importance to screenwriters.

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: An evolving present within a past a history of screenwriting practices in popular Hindi cinema by Anubha Yadav
  2. From The Journal Of Screenwriting V3 Issue 1: Irish cinema 1994–2009: The trajectory of script development policy at the Irish Film Board by Díóg O’Connell
  3. From The Journal Of Screenwriting V1 Issue 2: Zen and the art of film narrative: towards a transcendental realism in film by Erik Knudsen
  4. From The Journal Of Screenwriting V1 Issue 1: Teaching screenwriting in a time of storytelling blindness: the meeting of the auteur and the screenwriting tradition in Danish film-making by Eva Novrup Redvall
  5. 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