06 LGBTQ Writers In History from When Women Write Horror with Dr. Rosanne Welch [Video] (1 minute 8 seconds)

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06 LGBTQ Writers In History 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:

It’s very difficult studying LGBTQ people from the past because we don’t have a definitive “here’s a piece of paper that promises you that I am gay” because it was against the law, right? So nobody did that. So scholars have had to find ways to say ‘Here are some pieces of evidence we can use to generally guess this was probably the story and being buried side by side is kind of one of them. Another is wills. Often people would grant their land to someone who had been their companion for many years rather than inheriting it to a cousin or some far-flung relative if they didn’t have children. So scholars have had to work hard to figure that out but I think it’s really interesting. There’s a thing in the UK called Places Of Pride and it’s a tour you can take of LGBTQ locations and her gravesite is one of them. So I think, she’s a really interesting woman. To read her supernatural stories and see what underlying theme — what was she trying to say about how we’re afraid of different things. People tell you what they really want as a message in their writing and I think that’s somebody we should know.

From The Journal Of Screenwriting V1 Issue 1: Cyber-Aristotle: towards a poetics for interactive screenwriting by Jasmina Kallay

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


Cyber-Aristotle: towards a poetics for interactive screenwriting by Jasmina Kallay

Through analysing appropriations of Aristotelian dramatic theory within interactive digital narratives (Laurel 1991, Hiltunen 2002, Mateas and Stern 2005), this article assesses the merits of Aristotle’s Poetics in providing a basis for an interactive screenwriting poetics. From the six components of tragedy (plot, character, thought, diction, melody, spectacle) to mimesis and catharsis, these concepts are examined for their value in a new media context. The hierarchy of the components is challenged and new formal and material causative relations are explored, using the interactive drama Faade (Mateas and Stern, 2005) as an example. With new dramatic configurations emerging (such as spatial plotting and narrative architecture), the question posed is – to what degree can Aristotelian thought really aid the interactive screenwriting process? If this approach can not yield substantial results, what is the alternative?


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!

04 Writers Matter. Women Writers Matter from Why Researching Screenwriters (has Always) Mattered [Video] (1 minute 5 seconds)

Watch this entire presentation

04 Writers Matter. Women Writers Matter from Why Researching Screenwriters (has Always) Mattered

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

 

Transcript:

My teaching philosophy — I will apologize if the translations aren’t perfect. I used Google Translate — but I think it’s important that words matter, that writers matter, and that women writers matter in this world and we must pay attention to them. I think it’s important to consider writers because writer comes before director when you describe a filmmaker who can do two things. They are writer/ directors. They are not director/writers. That tells me something, right? To me that’s a very important point. I also think that we have to realize that the vision of a movie cannot exist without the screenplay. A director cannot direct nothing. There must be an idea. There must be a philosophy. There must be a theme right? There must be a story. So the writer is of equal importance. Sometimes my students who come from directing think that I am saying we should push the directors down to pull the writers up. I don’t think that’s true. I think they have to be equal partners in this right? I think that’s what we should remember.

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

Master Class On Writing with Stephens College MFA in TV and Screenwriting Mentor, Valerie Woods

Athena film festival logoThe Stephens College MFA in TV and Screenwriting is proud to help sponsor the 10th Annual Athena Film Festival, celebrating films that tell the extraordinary stories of fierce and fearless women leaders.

As part of our sponsorship, we hosted this MasterClass on television writing with one of our valued mentors – Valerie Woods, most recently co-executive producer of Queen Sugar, interviewed at the festival by our writer-in-residence, Ken Lazebnik. 

Learn more about television writing and storytelling with a female focus in our low residency MFA program  — rolling applications means there is still time for you to join our Fall 2020 cohort and learn from working writers like Valerie.

Master Class On Writing with Stephens College MFA in TV and Screenwriting Mentor, Valerie Woods


Visit the Stephens College MFA in TV and Screenwriting for more information.

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#MentorMonday 8 - Dawn Comer Jefferson - Stephens College MFA in TV and Screenwriting

From The “When Women Wrote Hollywood” Archives 20: Blackout: World War II and the Origins of Film Noir by Sheri Chinen Biesen

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 20: Blackout: World War II and the Origins of Film Noir by Sheri Chinen Biesen

Challenging conventional scholarship placing the origins of film noir in postwar Hollywood, Sheri Chinen Biesen finds the genre’s roots firmly planted in the political, social, and material conditions of Hollywood during the war. After Pearl Harbor, America and Hollywood experienced a sharp cultural transformation that made horror, shock, and violence not only palatable but preferable. Hard times necessitated cheaper sets, fewer lights, and fresh talent; censors as well as the movie-going public showed a new tolerance for sex and violence; and female producers experienced newfound prominence in the industry.

Biesen brings prodigious archival research, accessible prose, and imaginative insights to both well-known films noir of the wartime period―The Maltese Falcon, The Big Sleep, and Double Indemnity―and others often overlooked or underrated―Scarlet Street, Ministry of Fear, Phantom Lady, and Stranger on the Third Floor.

Read more


Buy “When Women Wrote Hollywood” Today!

Paperback Edition | Kindle Edition | Google Play Edition

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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!
† Available from the LA Public Library

05 Amelia Edwards from When Women Write Horror with Dr. Rosanne Welch [Video] (1 minute 7 seconds)

Watch this entire presentation

05 Amelia Edwards from When Women Write Horror with Dr. Rosanne Welch [Video] (1 minute 7 seconds)

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:

Now this woman really fascinated me. Amelia Edwards. She is known again for travel writing. She traveled the world and that was very fascinating. It’s what she published and got more fame for but in fact, she published ghost stories and there’s a whole collection of her supernatural and weird stories that was just put out again in 2009. So we’re having a Renaissance of looking at women as writers and thinking about the material they put out so many years ago. So I think that’s fascinating. What’s double fascinating. Women have been hidden in history as we know. Women have been hidden in the history of literature. Also, LGBTQ people have been hidden in the history of our actual public life and our literature. Turns out Emilia traveled the world with a widowed friend who never bothered to get married a second time and the two women were companions and did not ask for a male escort which was proper in the day for women to travel with a man to protect them and when they died they were buried side by side in this graveyard.

From The Journal Of Screenwriting V1 Issue 1: The protagonist’s dramatic goals, wants and needs by Patrick Cattrysse

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 protagonist’s dramatic goals, wants and needs by Patrick Cattrysse

Screenwriting manuals tell us that narratives should have a protagonist and that a protagonist should have an important dramatic goal to achieve. With respect to this goal, manuals often mention another common distinction, that between a protagonist’s want and need. Wants are generally understood as external and/or conscious dramatic goals, whereas needs are defined as internal and/or unconscious dramatic goals. This essay argues that these tools could be made more powerful if defined in a more precise way. Whereas wants refer to the goals of characters at the level of story, needs play at the level of the interaction between plot and real audience. This re-definition links the wants and needs debate with the much wider and far more complex study of audience involvement and its relationships with the value systems expressed in a narrative and those experienced by a viewer; a subject which stretches far beyond the limits of a single article.


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!

Women’s History Month 31: Mary Walker

Women's History Month 31: Mary Walker

Mary Walker

A surgeon for the Union during the American Civil War and the only woman to receive the Congressional Medal of Honor, Mary Edwards Walker was born on November 26, 1832, in Oswego Town, New York. Her parents, Vesta Whitcomb and Alvah Walker, held 25 acres of land on which they grew fruits and vegetables for market. The family also kept a library for all five of their daughters to use. As a youth, Walker was interested in Spiritualism and supported abolition, temperance, and women’s rights, including suffrage.

Learn more about Mary Walker


Learn about more Women In History with these encyclopedia from Dr. Rosanne Welch and Dr. Peg Lamphier

* 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

03 About Stephens College MFA from Why Researching Screenwriters (has Always) Mattered [Video] (34 seconds)

Watch this entire presentation

03 About Stephens College MFA from Why Researching Screenwriters (has Always) Mattered

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

 

Transcript:

My college is actually in the state of Missouri but we are what is called low residency. So students come to Los Angeles and the picture on the bottom is the Jim Henson Studio in Los Angeles and this is where the students come for workshops twice a year. You’ll see Kermit standing on top. Before Kermit this was the Charlie Chaplin studio founded in 1917 and was never torn down. So it is the original buildings that Charlie Chaplin did all his work in and now we do it with our students. So I you can see the difference in Missouri is quite far away from California.

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

Women’s History Month 30: Ellen Craft

Women's History Month 30: Ellen Craft

Ellen Craft

Ellen Craft was a fugitive slave made famous by the daring escape she and her husband William Craft (1824–1900) made in December 1848. Ellen, disguised as an infirm and sickly slaveholding gentleman, and her husband William, posing as a slave servant, traveled from the slaveholding state of Georgia to freedom in Philadelphia. So widely publicized was their escape that the Crafts became world- renowned spokespersons for abolitionism.

Learn more about Ellen Craft


Learn about more Women In History with these encyclopedia from Dr. Rosanne Welch and Dr. Peg Lamphier

* 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