Tag: screenwriting research network

32 Women As Survivors from When Women Write Horror with Dr. Rosanne Welch [Video] (40 seconds)

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32 Women As Survivors from When Women Write Horror with Dr. Rosanne Welch [Video] (40 seconds)

 

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Transcript:

Now we’ve had a ton of final girls in movies. There was actually a final girl movie because of that trope right? So i think that’s kind of interesting, but what’s great is that after 11 Halloween sequels, they came back to Jamie Lee Curtis and said will you do another one of these movies and she said “Now I will only do it if we flip the whole damn thing and from now on I’m the survivor. She’s the survivor. She gets back at the guy who did that to them. That’s why she agreed to the movie to flip that trope over in her adulthood. She’s like why don’t we call women survivors? Why are they girls? They’re survivors. Let’s think about the language and how it’s used.

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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  1. 19 More On Buffy from When Women Write Horror with Dr. Rosanne Welch [Video] (39 seconds)
  2. 29 Unspoken Messages in Film from When Women Write Horror with Dr. Rosanne Welch [Video] (53 seconds)
  3. 05 Amelia Edwards from When Women Write Horror with Dr. Rosanne Welch [Video] (1 minute 7 seconds)
  4. 02 Women and Horror Writing from When Women Write Horror with Dr. Rosanne Welch [Video] (45 seconds)
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The Civil War On Film – 1 in a series – Introduction

Civil War On Film - 1 in a series -

 Our culture’s most powerful ideas about the past come, not from books written by professional historians, but from popular images and mythologies, including those that come from films written by screenwriters. Screenwriters write Civil War movies for mass audiences, who tend to believe what they see. And films, unlike books, don’t get relegated to the back shelves of libraries.

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. Now Available: The Civil War on Film (Hollywood History) by Dr. Rosanne Welch and Dr. Peg Lamphier
  3. New Book Arrives April 2020 – The Civil War on Film by Dr. Rosanne Welch and Dr. Peg Lamphier (ABC-CLIO) – Pre-Order Now
  4. My Chapter in The American Civil War on Film and TV: Blue and Gray in Black and White and Color
  5. Latest Project from Dr. Rosanne Welch and Dr. Peg Lamphier – “The Civil War On Film” — Coming in 2020

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

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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

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  1. 19 Nunnally Johnson and John Ford from Why Researching Screenwriters (has Always) Mattered [Video] (51 seconds)
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  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)
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Now Available: The Civil War on Film (Hollywood History) by Dr. Rosanne Welch and Dr. Peg Lamphier via Instagram

Now Available: The Civil War on Film (Hollywood History) by Dr. Rosanne Welch and Dr. Peg Lamphier via Instagram

Now Available: The Civil War on Film (Hollywood History) by Dr. Rosanne Welch and Dr. Peg Lamphier via Instagram

My newest book The Civil War on Film (co-written with my colleague Peg Lamphier as part of ABC-Clio’s Hollywood History series) was published today.

Peg and I discuss 10 Civil War films based on their accuracy and cultural context. It is no surprise that we agree with a collection of historians that the most accurate of all the films of the Civil War is Glory (written by Kevin Jarre), though even that film makes the ‘mistake’ of omitting the fact that Harriet Tubman served as a spy for the 54th Massachusetts Infantry Regiment.

As we say about many of the films, one film can’t encapsulate the entirety of a historical event (though Free State of Jones (written by Gary Ross) does try, and here we admit that that attempt to do it all makes for a long and plodding film, which is sad since it is a thorough portrait of Reconstruction, which is nearly never covered in films as they all prefer ending when the war ends).

As always it was a pleasure to work with Peg. We’re in the middle of our second book for this series – chronicling how Women’s History is covered in films coming sometime in 2021.

* 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!

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Related posts:

  1. Now Available: The Civil War on Film (Hollywood History) by Dr. Rosanne Welch and Dr. Peg Lamphier
  2. New Book Arrives April 2020 – The Civil War on Film by Dr. Rosanne Welch and Dr. Peg Lamphier (ABC-CLIO) – Pre-Order Now
  3. Latest Project from Dr. Rosanne Welch and Dr. Peg Lamphier – “The Civil War On Film” — Coming in 2020
  4. Dr. Rosanne Welch and Dr. Peg Lamphier Talk Women In American History on the College of Education and Integrative Studies Podcast [Video]
  5. My Chapter in The American Civil War on Film and TV: Blue and Gray in Black and White and Color

When Women Wrote Hollywood: The Movies – 11 in a series – Min and Bill (1930), Wr: Lorna Moon

Min and bill 1930 poster

By Source, Fair use, Link

Min and Bill is a 1930 American Pre-Code comedy-drama film starring Marie Dressler and Wallace Beery, and based on Lorna Moon’s 1929 novel Dark Star, adapted by Frances Marion and Marion Jackson. The film tells the story of dockside innkeeper Min’s tribulations as she tries to protect the innocence of her adopted daughter Nancy, all while loving and fighting with boozy fisherman Bill, who resides at the inn.

Min and Bill stars Marie Dressler (Min), Wallace Beery (Bill), Dorothy Jordan (Nancy), and Marjorie Rambeau (Bella, Nancy’s ill-reputed mother), and was directed by George W. Hill. Dressler won the Academy Award for Best Actress in 1931 for her performance in this film.[2]

This film was such a runaway hit that it and its near-sequel Tugboat Annie, which re-teamed Dressler and Beery in similar roles, boosted both to superstar status. Dressler topped Quigley Publications’ annual Top Ten Money Making Stars Poll of movie exhibitors in 1933, and the two pairings with Dressler were primarily responsible for Beery becoming MGM’s highest-paid actor in the early 1930s, before Clark Gable took over that crown;  — Wikipedia

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 – 24 in a series – Lorna Moon (Nora Helen Wilson Low)
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  3. From The “When Women Wrote Hollywood Archives 35: The Collected Lorna Moon
  4. From The “When Women Wrote Hollywood” Archives 14: My Secret Mother: Lorna Moon by Richard de Mille
  5. When Women Wrote Hollywood: The Movies – 10 in a series – Ben Hur (1907), Wr: Gene Gauntier

From The Journal Of Screenwriting V2 Issue 2: Greenaway’s books: Peter Greenaway’s published screenplays by Miguel Mota

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

Greenaway’s books: Peter Greenaway’s published screenplays by Miguel Mota

Greenaway’s published screenplays – screenplays produced and consumed as discrete material objects – function both as fluid, hybrid texts and as material books that stand ambivalently and therefore suggestively and productively poised between print and film technologies. Ranging from the early scripts published by Faber and Faber in the mid-to-late 1980s to the later and still-ongoing series of scripts produced by the French publisher Dis Voir, Greenaway’s published screenplays are fascinating examples of print film texts that produce and demand unique ways of reading and looking. By addressing these books as visual and material objects, distinct from the films, we might evince and extract from the pages of these published screenplays entirely new texts with a plurality of narrative possibilities, in which juxtapositions and relationships amongst different cultural discourses can give rise to innovative visual and verbal structures. Such an approach to Greenaway’s published film scripts as material events might contribute a curious but compelling chapter to the history of the ontology of the screenplay, affording the published script a visibility it often otherwise lacks.

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 1: No room for the fun stuff: the question of the screenplay in American indie cinema by J. J Murphy
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  3. From The Journal Of Screenwriting V2 Issue 2: Lost and gone for ever? The search for early British screenplays by Jacob U. U. Jacob
  4. 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
  5. From The Journal Of Screenwriting V2 Issue 2: An uneven marketplace of ideas: Amateur screenwriting, the Library of Congress and the struggle for copyright by Torey Liepa

30 Michael Wilson – Censored from Why Researching Screenwriters (has Always) Mattered [Video] (34 seconds)

Watch this entire presentation

30 Michael Wilson - Censored from Why Researching Screenwriters (has Always) Mattered

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

 

Transcript:

In this time period this gentleman, Michael Wilson was completely censored. His movies were put out without his name on them at all. The movies were released and there was no written by credit at all because the studio refused to recognize him because he was marked as a communist.Both of these movies are anti-war films The first one Friendly Persuasion is about our Civil War and Salt of the Earth is actually a union movie. Iit’s about a union of miners, New Mexican miners who are on strike and the women who support them and nobody wanted to support those ideas so his he just disappeared right?

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

Related posts:

  1. 05 Do You Know Who Wrote Your Favorite Films? from Why Researching Screenwriters (has Always) Mattered [Video] (51 seconds)
  2. 26 The Great Depression from Why Researching Screenwriters (has Always) Mattered [Video] (45 seconds)
  3. 28 Screenwriting Education Flaws from Why Researching Screenwriters (has Always) Mattered [Video] (56 seconds)
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  5. 06 Stories Are Important! from Why Researching Screenwriters (has Always) Mattered [Video] (51 seconds)

When Women Wrote Hollywood: The Movies – 10 in a series – Ben Hur (1907), Wr: Gene Gauntier

When Women Wrote Hollywood: The Movies - 10 in a series - Ben Our (1907), Wr: Gene Gauntier

Ben Hur is a 1907 American silent drama film set in ancient Rome, the first screen adaptation of Lew Wallace’s popular 1880 novel Ben-Hur: A Tale of the Christ. Co-directed by Sidney Olcott and Frank Oakes Rose, this “photoplay” was produced by the Kalem Company of New York City, and its scenes, including the climactic chariot race, were filmed in the city’s borough of Brooklyn.[5][a]

While this film is significant for being the first motion-picture adaptation of Wallace’s novel, its production also served as a landmark case of copyright infringement by an early American film studio. In 1908 Kalem was successfully sued for representing parts of Wallace’s book on screen without obtaining permission from the author’s estate. Copies of the film, which survive, are now in the public domain and are readily available for free viewing online in the collections of various digital archives and on streaming services. — Wikipedia

More about Alice Guy Blaché

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. When Women Wrote Hollywood: The Movies – 3 in a series – The Captive (1915) Wr: Jeannie MacPherson
  3. From The “When Women Wrote Hollywood” Archives 11: Ben Hur: A Tale of the Christ. Screenplay. Wr: June Mathis. Dir. Fred Niblo, Metro-Goldwyn-Mayer, 1925 USA 142 mins.
  4. When Women Wrote Hollywood: The Movies – 5 in a series – The Musketeers of Pig Alley (1912) – Wr: Anita Loos
  5. When Women Wrote Hollywood: The Movies – 6 in a series – La Fee aux Choux | The Cabbage Fairy , Wr: Alice Guy Blaché (1896)

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

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

Escape from the stage? From play to screenplay in British cinema’s early sound period by Victoria Lowe

In this article I discuss the evolution of the screenplay from play to film of Escape (1930) through a detailed examination of the archive correspondence between its producer Basil Dean and the original writer of the play, John Galsworthy. My aim is to provide a more nuanced account of the relationship between stage and screen practices at this time, one that goes beyond histories that have understood the adaptation of stage material to have been a burden from which British cinema had to escape, in order to create its own distinctive identity. I argue that the relationship between the two practices was affected by the coming of sound, and the cultural anxiety and debates around the film industry and national identity formations that it engendered. I then examine Basil Dean’s thoughts about the adapted screenplay, in particular his ideas around the retention of the original author’s dialogue, and his practical response to the issues in terms of his collaboration with Galsworthy in the writing of the screenplay of Escape, one of the first talkies made in the United Kingdom.

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 V10 Issue 3: Die Filmprimadonna (The Film Primadonna, 1913): A case study of the fiction of a screenplay and the process of filmmaking in German early cinema by Jan Henschen
  3. From The Journal Of Screenwriting V2 Issue 2: Lost and gone for ever? The search for early British screenplays by Jacob U. U. Jacob
  4. From The Journal Of Screenwriting V1 Issue 1: No room for the fun stuff: the question of the screenplay in American indie cinema by J. J Murphy
  5. From The Journal Of Screenwriting V2 Issue 1: If it ain’t on the page, it ain’t on the stage: screenwriting, national specificity and the English-Canadian feature film by Janice Kaye and Charles H Davis

From The “When Women Wrote Hollywood Archives 43: COMEDY OUTLOOK SADDENS SPEWACK (1960) – The 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

COMEDY OUTLOOK SADDENS SPEWACK; Calls Times ‘Unfortunate’ for the Writer of Humor — Cites ‘Method’ School as ‘Grim’
By Louis Calta

Available in facsimile version on the NY Times web site.

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 19: Algonquin Round Table Web Site
  2. From The “When Women Wrote Hollywood” Archives 23: Satire and Melodrama in a Newspaper Play Entitled “Clear All Wires”, New York Times
  3. From The “When Women Wrote Hollywood Archives 07: “Frederica Sagor Maas, Hollywood’s ‘Shocking Miss Pilgrim'” The Forward.
  4. From The “When Women Wrote Hollywood” Archives 22: Latitude in Mass-Produced Culture’s Capital: New Women and Other Players in Hollywood, 1920-1941
  5. From The “When Women Wrote Hollywood” Archives 09: “Eve Unsell in New York.” Film Daily 6 August 1936