television – Page 47 – On Screenwriting and Media with Dr. Rosanne Welch

11 More On Shirley Jackson from When Women Write Horror with Dr. Rosanne Welch [Video] (1 minute 3 seconds)

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In honor of Halloween – and in service to my teaching philosophy —

“Words Matter. Writers Matter. Women Writers Matter.”

I presented this holiday lecture “When Women Write Horror” on Tuesday, October 29th, 2019. Researching the many, many women who have written horror stories – in novels, films and television – brought new names to my attention who I am excited to start reading. I hope you will be, too!

Transcript:

Some of you probably know her more from this short story that is also often read in high schools, The Lottery, which has to do with a town where once a year we choose one person who everybody else in town can stone to death and then we get all our aggressions out and we’re -peaceful the rest of the year and if you think about that coming from the brain of a housewife who’s been hanging around little kids all day and what was she saying about “I just want one day when I can take out all these aggressions and then I’ll be fine. I promise you,” but, of course, the issue is it’s a random — it’s a lottery when that name is pulled and this particular year it’s the mother in a family and how does the family react when it’s their mother that is going to be stoned to death this year. So, a really interesting brain going on with this woman. You might have heard of her before. This is her best-known novel and her best critic novel, “We’ve always lived in the castle.” Again, having to do with the family and people coming together and being horrified together. I think it’s very cool. I like that she says, “I delight in what I fear.” That’s not usually what I delight in but ok, whatever.

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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

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

No room for the fun stuff: the question of the screenplay in American indie cinema by J. J Murphy

One of the most interesting trends in recent independent cinema has been for film-makers to avoid using traditional screenplays in making their films. Not only have emerging film-makers associated with the so-called mumblecore movement, such as Joe Swanberg, Aaron Katz and Ronald Bronstein, veered away from depending on conventionally written screenplays, but other critically acclaimed films, including The Pool (Smith, 2008) and Ballast (Hammer, 2008), have as well. Indeed, some of the most notable American indie film-makers Gus Van Sant, David Lynch and Jim Jarmusch have employed alternative strategies to the screenplay in such recent films as Elephant (2003), Inland Empire (2006), and The Limits of Control (2009). What is behind these developments and why has the conventional screenplay been under attack? What are the aesthetic benefits of choosing not to rely on a traditional script? Is this a completely new phenomenon or has the industrial screenplay always been an obstacle? I explore these issues by looking at three major strategies that indie film-makers have used in place of the traditional screenplay: improvisation, psychodrama and visual storytelling. Finally, I argue that for current independent film-makers in the United States of America these methods provide an appropriate model for a practice that is attempting to create a truly viable alternative to Hollywood cinema.

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!

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** Many of these books may be available from your local library. Check it out!

10 Shirley Jackson from When Women Write Horror with Dr. Rosanne Welch [Video] (36 seconds)

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In honor of Halloween – and in service to my teaching philosophy —

“Words Matter. Writers Matter. Women Writers Matter.”

Transcript:

I’m jumping ahead to the woman we consider the mother of all haunted house stories and someone we actually teach in this class that we do here, which is Demons, The Undead and the Monstrous Other and we talk about horror. So Shirley Jackson. Shirley Jackson was actually said by Stephen King to be the best horror writer in American history and hello Stephen King is not exactly a nobody when we talk about that world and so The Haunting of Hill House was her major book. She’s a really interesting woman. She was a housewife which doesn’t sound like woo a housewife and she wrote horror while she was taking care of her kids. She had a little deal with alcoholism so that was a problem.

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From The Journal Of Screenwriting V1 Issue 1: Screenwriting strategies in Marguerite Duras’s script for Hiroshima, Mon Amour (1960) by Rosamund Davies

Screenwriting strategies in Marguerite Duras’s script for Hiroshima, Mon Amour (1960) by Rosamund Davies

The published scnario et dialogues (Duras 1960) (Figure 1) of the film Hiroshima, Mon Amour (1959) feature precise technical specifications of sound and image and more novelistic passages, all of which create an emotional resonance that has been left to the director to translate into images. This article explores Marguerite Duras’s text as a particular example of how the written component of the screen idea (Macdonald 2004a) might function on the page and as part of a dialogue with the director. It also examines the way that the script’s concern with problematizing and drawing attention to the process of representation makes it a palpable and controlling presence in the resulting film.

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* 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!

Stephens College MFA in TV and Screenwriting [Video]

What is the Stephens College MFA in TV and Screenwriting? Here is a short introduction.

We’re pleased to present a new slideshow designed by graphic artist Phoenix Bussey, a Stephens College undergrad, using photos taken by MFA candidates during the last few years of workshops. We think it tells our story well. Write. Reach. Represent.

Visit the Stephens College MFA in TV and Screenwriting web site to apply today!

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Drs. Rosanne Welch and Sarah Clark discuss “Don’t Look a Gift Horse in the Mouth” on the Zilch Podcast’s Monkees 101 Series [Audio]

Drs. Rosanne Welch and Sarah Clark discuss “Don’t Look a Gift Horse in the Mouth” on the Zilch Podcast’s Monkees 101 Series

As you know I always LOVE talking television so when fellow Dr. Sarah Clark of Zilch Nation asked me a while back if I’d like to cohost an ongoing segment of Zilch where we analyze each of the 58 episodes of The Monkees — I jumped at the chance.

Even though I did a lot of this work in the book – I couldn’t cover all the episodes so this segment allows us to take one at a time and do our own critical studies and popular culture coverage.

Monkees 101 with Rosanne Welch and Sarah Clark discuss the 8th episode of “The Monkees” -“Don’t Look a Gift Horse in the Mouth”, Anthony Pomes reviews the new Micky & Mike Live CD, Bob & Bethany Kriger Thies Do a song dealing with C-19 as only Monkees fans could. We dedicate this episode to Adam Schlesinger Singer-songwriter and Producer, Thank you for being part of The Monkees story and understanding them and us.

Listen to this episode

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Want to learn more about The Monkees? Buy Why The Monkees Matter: Teenagers, Television and American Pop Culture

A hit television show about a fictitious rock band, The Monkees (1966-1968) earned two Emmys–Outstanding Comedy Series and Outstanding Directorial Acheivement in Comedy.

Capitalizing on the show’s success, the actual band formed by the actors, at their peak, sold more albums than The Beatles and The Rolling Stones combined, and set the stage for other musical TV characters from The Partridge Family to Hannah Montana. In the late 1980s, the Monkees began a series of reunion tours that continued into their 50th anniversary.

This book tells the story of The Monkees and how the show changed television, introducing a new generation to the fourth-wall-breaking slapstick created by Laurel and Hardy and the Marx Brothers.

Its creators contributed to the innovative film and television of 1970s with projects like Bob & Carol & Ted & Alice, The Mary Tyler Moore Show, Laugh-In and Welcome Back, Kotter. Immense profits from the show, its music and its merchandising funded the producers’ move into films such as Head, Easy Riderand Five Easy Pieces.

McFarland (Direct from Publisher) | Amazon | Kindle Edition | Nook Edition

Want to use “Why The Monkees Matter” in your classroom?

Order Examination Copies, Library and Campus Bookstore orders directly from McFarland

09 More Edith Wharton’s Ghost Stories from When Women Write Horror with Dr. Rosanne Welch [Video] (32 seconds)

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In honor of Halloween – and in service to my teaching philosophy —

“Words Matter. Writers Matter. Women Writers Matter.”

Transcript:

Who has done anything with her ghost stories for Christmas? I think that’d be an excellent thing to check into. Her house is on a haunted home tour, right,, if you go through the UK. You can study her house. That’s her library. When you see libraries like that from the old days, those are usually the rooms that belong to men. Those were the man caves of their day, but this is hers. This room belonged to a woman who was a writer and its haunted by her spirit. So I’m kind of making myself want to go do this tour while I think about it.

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From The Journal Of Screenwriting V1 Issue 1: Creating Authorship? Lindsay Anderson and David Sherwin’s collaboration on If. (1968) by Isabelle Gourdin-Sangouard

Creating Authorship? Lindsay Anderson and David Sherwin’s collaboration on If. (1968) by Isabelle Gourdin-Sangouard

This article draws upon the research currently undertaken for my doctoral thesis and is meant to act as a complementary study of Lindsay Anderson and David Sherwin’s partnership on If. (1968), following Charles Drazin’s 2008 article for the Journal of British Cinema and Television, If before If. Charles Drazin (2008: 318) highlights the idea of a creative dynamic underlying the working partnership between Lindsay Anderson and David Sherwin on If., as well as in the subsequent projects they developed together. The following article aims to uncover the nature of the creative dynamic suggested by Drazin’s article by looking at both the personal and the artistic dimensions that the working relationship assumed. The aim is to highlight the distinctiveness of their collaboration in the cinema; the article will show that in the course of this collaborative work they realized their artistic potential through an exchange of expertise, and that their collaboration helped to bring about an alternative approach to the conventional opposition between screenwriter and director, especially when it comes to claiming authorship over a film.

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* 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!

08 Edith Wharton’s Ghost Stories from When Women Write Horror with Dr. Rosanne Welch [Video] (1 minute 3 seconds)

Watch this entire presentation

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

In honor of Halloween – and in service to my teaching philosophy —

“Words Matter. Writers Matter. Women Writers Matter.”

Transcript:

Now Edith Wharton is somebody people sometimes had to study in high school especially if you did an AP sort of literature class and she’s fascinating because she is the first woman ever to win a Pulitzer Prize. Which is huge for a woman right in 1927 — which I think is great — for The Age Of Innocence which was turned into a film. This is a whole section of her books here. We teach her in schools. Sometimes kids find her boring because the world she writes about was that world of proper manners and all that sort of thing and they have to really work through why this is interesting. I think we should teach some of her ghost stories. If we taught her ghost stories how more interested would an audience be and then maybe they’d want to read the more grown-up world and society that she’s, you know, satirizing. I think it’s really cool that she put out all these ghost stories back in the day. Afterward is her ghost story for Christmas, which is nothing more than what Charles Dickens did with A Christmas Carol. We read him every year. There’s been how many versions of a Christmas carol made into films including The Muppets which is the best one.

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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

Tonino Guerra: the screenwriter as a narrative technician or as a poet of images? Authorship and method in the writerdirector relationship by Riikka Pelo

The article focuses on the invisible role of the screenwriter and makes observations about the screenwriter’s part in the process of writing a screenplay together with a director. By studying the two examples of the collaboration between the screenwriter and poet Tonino Guerra with the directors Michelangelo Antonioni and Andrei Tarkovsky, the intention is to follow the ways in which authorship is both constituted and shared in such a liaison. I observe how the craft of the screenwriter is understood in relation to the different aspects of his task. By focusing on the case study around the writing of the film Nostalghia/Nostalgia (1983), I also consider how responsibility in developing these aspects is shared between screenwriter and director during different phases of a screenwriting process: in gathering ideas, sketching, building the story structure, writing drafts, rewriting and completing the final draft.

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!