14 Beetlejuice from When Women Write Horror with Dr. Rosanne Welch [Video] (1 minute 16 seconds)

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14 Beetlejuice from When Women Write Horror with Dr. Rosanne Welch

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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:

For me what’s interesting is other haunted house books and films — Beetlejuice being one of the more famous ones and now we’re looking at the influence here of a female actress coming into a piece because this film was written by Michael McDowell and Warren Skerin but because we have Geena Davis, who today is in charge of the Geena Davis Women in Hollywood faction — she made sure that her character had power. She had some agency inside the film. It’s about a couple that gets killed on their honeymoon and they go into hell and they meet Beetlejuice and what’s interesting is that the end they have to get rid of him. She’s the one who kills him. Not the husband. Not the male character. It’s the female character who does the thing that gets rid of the bad guy. So she saves the day and I think it’s adorable at the end of the film there’s a little human girl who can see the ghosts and they have a party not because she met a boy because she got an A in her math test. That’s a girl idea. This is what we celebrate. We don’t sully the boys come and go like buses right but the a in the math test that’s a hot thing. We’re happy about that. So you can see the influence of the female voice in this story — in this haunted house story. So I think that’s rather cool.

From The Journal Of Screenwriting V1 Issue 2: Collaboration and control in the development of Janet Green’s screenplay Victim 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


Collaboration and control in the development of Janet Green’s screenplay Victim by Jill Nelmes

This article discusses the draft screenplays and correspondence held in the Janet Green collection concerned with the writing of Victim (1961), one of three social issue films that Green wrote for producer Michael Relph and director Basil Dearden. Victim was the first film to openly depict homosexuality in Britain and went through a long and difficult development process. From the letters we find out about the complex relationship between those developing the film and the tensions during the writing of the different drafts. The collection is especially interesting because the correspondence not only allows a study of the writer and the producer/director/writer relationship but also, in the case of Victim, the role of the British Board of Film Censors as well as the participation of Green’s husband, John McCormick and lead actor Dirk Bogarde. The complex mix of argument, negotiation and collaboration suggests a struggle for control of ideas in the development process between the players involved. How decisions are made as to the content of each draft is recorded in the letters, allowing a fascinating picture to build up about the creation of the screenplay, which, as Janet Green explains, was written with the shadow of the censor’s axe (JG 10/6: 25/10/60).


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!

12 Who Wrote What? from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute 9 seconds)

Watch this entire presentation

12 Who Wrote What? from Why Researching Screenwriters (has Always) Mattered

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

 

Transcript:

There are a lot of people out in the world. Now, in this case, actors can be unreliable narrators because again they have an ego. They have a persona they have to put out into the world and as much as I love Marlon Brando — and I am quite a fan of The Godfather because my family is Italian so that was quite the movie to know. An academic recently went through all his papers and the notes he made on scripts and, in her mind, he wrote some fo the best dialogue in his films, and in her book, she credits Marlon Brando,. In fact, in In The Waterfront, the very famous line is “I could have had class. I could have been someone. I could have been a contender.” She says Marlon Brando wrote that line because in his own papers he says he wrote it but if you go back to the very first script which was written by Budd Schulberg his wife showed it to the academic, that line appeared in the very first draft of the very first script ever. How we credited Marlon Brando I don’t know, but that’s the newest thing now. So it amazes me how many unreliable narrators are out in the world.

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

From The “When Women Wrote Hollywood Archives 28: Narrative ‘Confidence Games’: Framing the Blonde Spectacle in Gentlemen Prefer Blondes (1925) and Nights at the Circus (1984)

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 “When Women Wrote Hollywood Archives 28: Narrative ‘Confidence Games’: Framing the Blonde Spectacle in Gentlemen Prefer Blondes (1925) and Nights at the Circus (1984)

From The

From The

“So tomorrow we will be in England bright and early. And I really feel quite thrilled because Mr. Eisman sent one a cable this morning, as he does every morning, and he says to take advantage of everybody we meet as traveling is the highest form of education.” Lorelei Lee in Gentlemen Prefer Blondes)

What makes Lorelei Lee from Anita Loos’s novel Gentlemen Prefer Blondes (Gm) on appealing is her ability to manipulate her own image and effectively become miswess of her own grand confidence game. Throughout the novel, it is clear that Lorelei is aware of herself as an image, and she constantly adjusts this image whew “take advantage. of the situation aromd her. In effect, she is smaner than she looks, and she uses this to her rhetorkal (and financial) ad-vantage. Recently. Christina Britzolakis has questioned the viability of reading the”ferninine spectacle” as a particularly feminist undertaking? Although Brit-zolakis is right to point to the patriarchal underpinnings that inform the male gaze,’ argue that the rhetorical construction of the wise-cracIdng, self-reflexive blonde often enacts a critique on the system of commodification and ob-jectification that she appears to uphold, thus meriting more critical and schol-arly attention.’ More specifically, tlotestigste the parallel rhetorical strategies in Anita Loos’s novel Gentlemen Prefer Blondes and Angela Carter’s Nights at Me Circus to reveal the self-reflexive and ultimately subversive nature oft de-liberately constructed blonde spectacle.’ In contrast, the main character in Dorothy Parker’s then story “Big Blonde.. Hazel Motes. is not in control of her own narrative and thus her “performance” as a blonde has disastrous re-sultn a brief analysis of Parker’s use of the blonde spectacle will provide a use-fid contrast to Loos’s Lorelei Lee and Carter’s main character, Sophie Fevvers. Loos and Carter draw our Mention to the image ofblonde beauty as a valuable

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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

Drs. Rosanne Welch and Sarah Clark discuss The Monkees “The Chaperone” episode on the Zilch Podcast’s Monkees 101 Series [Audio]

Drs. Rosanne Welch and Sarah Clark discuss The Monkees “The Chaperone” episode on the Zilch Podcast’s Monkees 101 Series 

 

When I finished writing the book and going to book signings or conferences where I could keep talking about The Monkees I thought I was done.  Then Sarah Clark, PhD emailed and asked me if I’d like to do a segment called “Monkees 101” where we both put our PhD hats and talked about each episode in terms of how it fit into the world in which it aired – sociologically, ideologically and even sometimes politically – covering what was going on in the news the week the show aired and covering the lives of the crafts people who came together to make the show.  How could I say no?  Here’s our latest installment, on an episode called “The Chaperone” which involves Micky in drag as the writers borrowed from the classic play Charlie’s Aunt.

 

Drs. Rosanne Welch and Sarah Clark discuss The Monkees “The Chaperone” episode on the Zilch Podcast's Monkees 101 Series [Audio]

Monkees 101 with Rosanne Welch and Sarah Clark discuss the 9th episode of “The Monkees” -“The Chaperone” & Christine Wolfe and Sarah talk Monkees News! “Davy has fallen for a beautiful woman, only to find out that her father is a retired Army General who will only let her go to events with a chaperone. The Monkees plot how to convince the General that she will have a chaperone to an upcoming party so Davy can meet her”

Listen to this episode


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

McFarland Company logo

13 The Amityville Horror from When Women Write Horror with Dr. Rosanne Welch [Video] (32 seconds)

Watch this entire presentation

13 The Amityville Horror from When Women Write Horror with Dr. Rosanne Welch

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.”

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:

The idea of a haunted house and what we do with haunted houses led us to probably the most famous horror house – changed house — book then film series – The Amityville Horror. Written by a guy so right I’m not doing guys today too much however it’s kind of interesting to say that the dude’s book was proven to be an entire fake. He gave a story about a family that had actually lived in this house and what had happened and then eventually the family came forward and said “Yeah, we just did that for the money. None of that really happened. We made it all up.” So it kind of undermined the whole concept.

From The Journal Of Screenwriting V1 Issue 2: The early screenwriting practice of Ernest Lehman by Ted Nannicelli

Highlighting the articles in the past editions of the Journal of Screenwriting, of which I am the Book Reviews Editor. Hopefully these abstracts will entice you to did a little deeper into the history and future of screenwriting. — Rosanne


The early screenwriting practice of Ernest Lehman by Ted Nannicelli

This article analyses Ernest Lehman’s early screenwriting practice and argues that there are essential commonalities between it and his prose fiction writing practice. In the first section, I highlight the similarities between Lehman’s working notes for his abandoned novel, You Scratch My Back , and his unfinished screenplay for the MGM project, Labor Story. In the second section, I look at the ways in which Lehman’s prose fiction writing practice influences the composition of his first screenplay, for Executive Suite, as well as the composition of his screenplay for Sweet Smell of Success, and argue that in his prose fiction writing and screenwriting, Lehman uses language in the same aesthetically relevant ways.


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!

11 Marion E. Wong & Jennie Louise Toussaint from Why Researching Screenwriters (has Always) Mattered [Video] (27 seconds)

Watch this entire presentation

11 Marion E. Wong & Jennie Louise Toussaint from Why Researching Screenwriters (has Always) Mattered

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

 

Transcript:

Marion Wong was a Chinese-American woman who made films in the early era in San Francisco. You won’t see her in many books. These ladies were also writers in the early days and I think that we’ll find out more about them in the future because they were connected to other important United States people like President Ulysses S. Grant but no one’s done a lot of research on them. No one has found that of interest yet. It’s just becoming a new thing for us.

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

Watch Now: Creative Career Kickstart: Catching and Pitching Panel – ASU Film Spark Program [Video] (1 hour 15 minutes)

Asu film spark logoFor a few years running my colleague Warren Lewis has asked me to be a panelist for the semi-annual Film Spark event for ASU  (Arizona State University) discussing pitching on a panel and then listening and giving notes to students during an afternoon pitchathon. 

This year, due to our sheltering at home during the virus the event used Zoom so for the first time they recorded the hour long panel – and here it is. 

We were each asked to give advice based on the stories of our best and worst pitches, which provided a few good laughs and hopefully a lot of good advice.

Creative Career Kickstart: Catching and Pitching Panel - ASU Film Spark Program [Video] (1 hour 15 minutes)

From The “When Women Wrote Hollywood” Archives 27: Feminism and the Female Author: The Not So Silent Career of the Woman Scenarist in Hollywood—1896–1930 by Donna R. Casella

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 “When Women Wrote Hollywood” Archives 27: Feminism and the Female Author: The Not So Silent Career of the Woman Scenarist in Hollywood—1896–1930 by Donna R. Casella

From The

In Of With Their Heads! A Serio-Comic Tale of Hollywood, scenarist Frances Marion speaks of her attempts to secures writing job in Hollywood ma reputable salary, particularly of her encounter with Fox who couldn’t understand why she would want to write. “Listen, cuteness, don’t try to be a foolish somebody. Nobody cares nothing about female writer,” She kept pestering him until he offered her a job as a staff writer for $80 a week. She then went across town to William A. Brady’s office at World Film Company and pushed her way in at $200 a week stating in her autobiography, “it’s about time the writers got on the gravy train.. It was the teens, the early days of scenario writing in Hollywood. Anita Loos was a staff writer at Biograph where she was paid by the story, eventually earning $200 a piece. Gene Gunder was acting and writing scenarios for Kalem, then her own company, Gene Gauntier Feature Film Company, and eventually Universal. Jeanie Macpherson was beginning along and prolific partnership with director Cecil B. DeMille. Grace Cunard was taming out and acting in action-packed serials at Universal. Arid by the end of the decade, June Mathis, a regular scenarist at Metro, was chief of their script department. Women did not struggle to be a part of the growing industry of scenario writing in its early days, for women dominated the industry, and women like Marion, Loos, Mathis and Macpherson were among the most successful scenarists finale on female) in film history.’


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