Dr. Rosanne Welch presents Opening Remarks at The Industry in Our Backyard: Television Production in Los Angeles 1940s-1980s [Video]

Dr. Rosanne Welch presents Opening Remarks at The Industry in Our Backyard: Television Production in Los Angeles 1940s-1980s [Video]

Dr. Rosanne Welch presents Opening Remarks at The Industry in Our Backyard: : Television Production in Los Angeles 1940s-1980s [Video]

 

Dr. Rosanne Welch presents her opening remarks for the photo exhibition…

The Industry in Our Backyard: Television Production in Los Angeles 1940s-1980s

Runs Thursday, January 18, 2018 to Sunday, July 15, 2018 Central Library, History and Genealogy Department, LL4

From Lucy to ALF, from game shows to talk shows, from local news to the made-for-TV movie, The Industry In Our Backyard: Television Production In Los Angeles 1940s-1980s showcases four decades in the life of the medium that dominated American culture, yet for Angelenos, was just another part of daily life. The images displayed in the exhibit were largely taken by photographers from the Herald Examiner and the Valley Times newspapers, who were granted exclusive access to back lots, sound stages and location shoots around town for their TV sections. These photos, which have not been seen in as many as sixty-five years when they first ran in the papers, provide rare glimpses of the earliest L.A. stations, the crews at work and the stars in action.

The exhibit runs from January 18 through July 15, 2018, along with a series of presentations given by television industry professionals and archivists.

Exhibit sponsored by Photo Friends, a nonprofit organization that supports the Los Angeles Public Library’s Photo Collection/History & Genealogy Department at Central Library.

Quotes from “Why The Monkees Matter” by Dr. Rosanne Welch – 87 in a series – Mike the Father Figure

** Buy “Why The Monkees Matter” Today **

Quotes from

Whether it was due to his being older (than Dolenz and Jones but not Tork), or due to his being tall, or because he was already a father in real life, Mike did provide the father figure from the start. The program provided the fantasy of a father-knows-best-less house, but because of Mike they had a father.

from Why The Monkees Matter by Dr. Rosanne Welch —  Buy your Copy today!

 Why The Monkees Matter: Teenagers, Television and American Pop Culture

    

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04 The Real Gidget from How Gidget Got Into the Girl Ghetto – Dr. Rosanne Welch – SRN Conference 2017

04 The Real Gidget from How Gidget Got Into the Girl Ghetto – Dr. Rosanne Welch – SRN Conference 2017

04 The Real Gidget from How Gidget Got Into the Girl Ghetto - Dr. Rosanne Welch - SRN Conference 2017

Watch this entire presentation

 

Transcript:

Now, this piece of dialog really made me really made me cringe. Oooh, why would a girl ever say that about her own life and yet this is the line given to Gidget by the male writers. So this is something that I found along the way.

As far as the adaptation of Gidget, it all started again with an actual real girl and her real words. Kathy Kohner was a Jewish young girl and her father was a television writer. She lived in Beverly Hills and one summer in her year between 16 and 17 she went to the beach every day and discovered this community of surfing males — no girls allowed — and she didn’t fall in love with the boys. She fell in love with the sport and what really bothered me was that is what her book is about. How hard she tried to be such a good surfer the men would take her seriously.

At this year’s 10th Annual Screenwriting Research Network Conference at Otago University in Dunedin, New Zealand I presented…

“How Gidget Got Into the Girl Ghetto by Accident (and How We Can Get Her Out of it): Demoting Gidget: The Little Girl with Big Ideas from Edgy Coming of Age Novel to Babe on the Beach Genre Film via Choices made in the Adaptation Process.”

It’ a long title, as I joke up front, but covers the process of adapting the true life story of Kathy Kohner (nicknamed ‘Gidget’ by the group of male surfers who she spent the summers with in Malibu in the 1950s) into the film and television series that are better remembered than the novel. The novel had been well-received upon publication, even compared to A Catcher in the Rye, but has mistakenly been relegated to the ‘girl ghetto’ of films. Some of the adaptations turned the focus away from the coming of age story of a young woman who gained respect for her talent at a male craft – surfing – and instead turned the focus far too much on Kathy being boy crazy.

Along the way I found interesting comparisons between how female writers treated the main character while adapting the novel and how male writers treated the character.

Gidget


Dr. Rosanne Welch

Dr. Rosanne Welch teaches the History of Screenwriting and One-Hour Drama for the Stephens College MFA in Screenwriting.

Writing/producing credits include Beverly Hills 90210, Picket Fences, ABCNEWS: Nightline and Touched by an Angel. In 2016 she published the book Why The Monkees Matter: Teenagers, Television and American Pop; co-edited Women in American History: A Social, Political, and Cultural Encyclopedia; and placed “Transmitting Culture Transnationally Via the Characterization of Parents in Police Procedurals” in the New Review of Film and Television Studies. Essays appear in Torchwood Declassified: Investigating Mainstream Cult Television and Doctor Who and Race: An Anthology. Welch serves as Book Reviews editor for Journal of Screenwriting and on the Editorial Advisory Board for Written By magazine, the magazine of the Writers Guild.

Watch Dr. Welch’s talk “The Importance of Having a Female Voice in the Room” at the 2016 TEDxCPP.


SRN logo red

The Screenwriting Research Network is a research group consisting of scholars, reflective practitioners and practice-based researchers interested in research on screenwriting. The aim is to rethink the screenplay in relation to its histories, theories, values and creative practices.

From The Research Vault: Peter Tork at peace with post-Monkees career, The Morning Call, June 2, 2012

Peter Tork at peace with post-Monkees career, The Morning Call, June 2, 2012

Peter Tork at peace with post-Monkees career, The Morning Call, June 2, 2012

Peter Tork figures that, had he never become a member of 1960s television pop-rock band The Monkees, he still would have had a music career.

“It would have been exactly the same,” Tork says in a recent call from his Connecticut home.

“Well, it wouldn’t have been as large and as loud, probably. That was an extraordinary phenomenon. But I would have been a folky blues-rocker solo singer-songwriter. I probably would have been playing small clubs all my life.”

Read the entire article – Peter Tork at peace with post-Monkees career, The Morning Call, June 2, 2012


 

Why The Monkees Matter: Teenagers, Television and American Pop Culture

    

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Quotes from “Why The Monkees Matter” by Dr. Rosanne Welch – 86 in a series – Peter the Idiot

** Buy “Why The Monkees Matter” Today **

Quotes from

Once the other three characters were set, only Peter’s persona required a choice, as mentioned by writer Treva Silverman in the chapter on authorship. It fell to the staff writers to decide if Peter would play a genius or a total idiot, largely based on where they could mine the most humor and idiot won the choice.

from Why The Monkees Matter by Dr. Rosanne Welch —  Buy your Copy today!

 Why The Monkees Matter: Teenagers, Television and American Pop Culture

    

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

03 Ruth Brooks Flippen from How Gidget Got Into the Girl Ghetto – Dr. Rosanne Welch – SRN Conference 2017

03 Ruth Brooks Flippen from How Gidget Got Into the Girl Ghetto – Dr. Rosanne Welch – SRN Conference 2017

03 Ruth Brooks Flippen from How Gidget Got Into the Girl Ghetto - Dr. Rosanne Welch - SRN Conference 2017

Watch this entire presentation

 

Transcript:

…and it’s because of this woman, Ruth Brooks Flippen, who was the television writer who did the adaptation for television and frankly I had never heard of her. There are a lot of female writers in Hollywood that never get exposure and so this shocked me. Theses are photographs, more likely I was to find her online with her husband because he was an actor in the period. So she is more known as Jay Flippen’s wife than she is as an executive producer for television in her own right and after she got through with Gidget she’s going to do a lot of interesting things. Along the way we’re going to talk about gendered writing and how scripts became different when a man wrote an episode of Gidget versus when a female did, which I did not think would happen and yet it is exactly what I discovered along the way. Sadly, when women write women they give them jobs and make the educated and smart and when men write woman they often don’t give them jobs and they have them shop a lot, which doesn’t seem to suit me as a definition as I really don’t like shopping.

At this year’s 10th Annual Screenwriting Research Network Conference at Otago University in Dunedin, New Zealand I presented…

“How Gidget Got Into the Girl Ghetto by Accident (and How We Can Get Her Out of it): Demoting Gidget: The Little Girl with Big Ideas from Edgy Coming of Age Novel to Babe on the Beach Genre Film via Choices made in the Adaptation Process.”

It’ a long title, as I joke up front, but covers the process of adapting the true life story of Kathy Kohner (nicknamed ‘Gidget’ by the group of male surfers who she spent the summers with in Malibu in the 1950s) into the film and television series that are better remembered than the novel. The novel had been well-received upon publication, even compared to A Catcher in the Rye, but has mistakenly been relegated to the ‘girl ghetto’ of films. Some of the adaptations turned the focus away from the coming of age story of a young woman who gained respect for her talent at a male craft – surfing – and instead turned the focus far too much on Kathy being boy crazy.

Along the way I found interesting comparisons between how female writers treated the main character while adapting the novel and how male writers treated the character.


Gidget


Dr. Rosanne Welch

Dr. Rosanne Welch teaches the History of Screenwriting and One-Hour Drama for the Stephens College MFA in Screenwriting.

Writing/producing credits include Beverly Hills 90210, Picket Fences, ABCNEWS: Nightline and Touched by an Angel. In 2016 she published the book Why The Monkees Matter: Teenagers, Television and American Pop; co-edited Women in American History: A Social, Political, and Cultural Encyclopedia; and placed “Transmitting Culture Transnationally Via the Characterization of Parents in Police Procedurals” in the New Review of Film and Television Studies. Essays appear in Torchwood Declassified: Investigating Mainstream Cult Television and Doctor Who and Race: An Anthology. Welch serves as Book Reviews editor for Journal of Screenwriting and on the Editorial Advisory Board for Written By magazine, the magazine of the Writers Guild.

Watch Dr. Welch’s talk “The Importance of Having a Female Voice in the Room” at the 2016 TEDxCPP.


SRN logo red

The Screenwriting Research Network is a research group consisting of scholars, reflective practitioners and practice-based researchers interested in research on screenwriting. The aim is to rethink the screenplay in relation to its histories, theories, values and creative practices.

From The Research Vault: Musical Comedy’s Latest Revival Owes a Lot to the Monkees. Dan Moore, Phoenix New Times, August 8, 2013

Musical Comedy’s Latest Revival Owes a Lot to the Monkees. Dan Moore, Phoenix New Times, August 8, 2013

Musical Comedy's Latest Revival Owes a Lot to the Monkees. Dan Moore, Phoenix New Times, August 8, 2013

The Monkees have survived so many backlashes and revivals that Micky Dolenz can answer most of your questions before you even consider asking them. Just say “TV show” or “actors” or “instruments,” by way of priming the pump, and he’ll generate an interview that touches on every important piece of the band’s strange history and successful revival.

He’ll tell you about their formation and their reunions and the way each new generation discovers their TV show and their music. He’ll explain how a meta-band in a sitcom transformed, thanks to their own skills and a top-notch songwriting team, into a real band playing fictional versions of themselves. He’ll go over the backlash and the backlash against the backlash.

Read the entire article – Musical Comedy’s Latest Revival Owes a Lot to the Monkees. Dan Moore, Phoenix New Times, August 8, 2013


 

Why The Monkees Matter: Teenagers, Television and American Pop Culture

    

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The Journal of American Culture reviews “Why The Monkees Matter”

It was lovely to read another supportive review of Why The Monkees Matter – this one by Derham Groves writing for The Journal of American Culture. Happily, I had the pleasure of meeting with Derham when he was in Los Angeles for a conference. We shared a lovely dinner at the Hollywood/Highland complex while he told me the plans for a Monkees 50th anniversary of their concert tour of Australia at his home base, the Melbourne University library. If you live in Melbourne, check it out. — Rosanne

Jac americanjournalsmall 

The publication of Why The Monkees Matter: Teenagers, Television, and American Pop Culture by Rosanne Welch happily coincided with the fiftieth anniversary of The Monkees—both the TV show and the pop group. In response to casting calls in The Hol­lywood Reporter and Daily Variety in 1965, American performers Mike Nesmith (b. 1942), Peter Tork (b. 1942), and Micky Dolenz (b. 1945) and English per­former Davy Jones (1945-2012) were plucked from the 400 hopefuls who answered the ads to play the four members of a fictitious, struggling, garage band in a new teen comedy TV series, both to be called The Monkees. While Nesmith and Tork were unknown to the general public, Dolenz (as Mickey Braddock) had starred as “Corky” in the TV series Circus Boy (1956­1958), and Jones had played “The Artful Dodger” in the original Broadway production (1963) of the musi­cal Oliver! The Monkees TV series ran from 1966 to 1968, while The Monkees pop group broke up in 1971, then reformed again in 1989.

Many critics and historians who have discussed The Monkees in the past have focused mostly on the group’s music, whereas Welch focuses mostly on the TV series. However, it is almost impossible to separate one from the other. The way in which The Monkees was formed standard for the cast of a TV show but seen by many as “inauthentic” for the members of a band—casts doubts about the musicianship of Nesmith, Tork, Dolenz, and Jones (unfairly, both Welch and I agree). When The Monkees toured Aus­tralia in 1968 (I was twelve years old and remember it very well), a TV reporter in Brisbane impertinently asked Jones: “When do you think you might break up and try something like music?” Jones responded by throwing a glass of water in the reporter’s face, to which he retaliated by doing likewise to Jones. (The Canberra Times, 23 September 1968).

Welch was right not to get bogged down too much by the controversy over the merit of The Monkees’ music, which is surely “old hat” anyway. Firstly, at least three of the group’s hits  “I’m a Believer” (1966), “Last Train to Clarksville” (1966), and “Day­dream Believer” (1967)—are widely recognized nowa­days as “standards” of the era. Secondly, the two manifestations of The Monkees have both stood the test of time: the TV show has endured thanks initially to reruns, then to DVD, and now to YouTube; while the pop group’s three surviving members continue to perform into their seventies, most recently in 2016 to celebrate their fiftieth anniversary.

The four actor—musicians were hired to essentially play caricatures of themselves on The Monkees. This was underpinned by the decision to use their own given names on the show, that is, “Mike,” “Peter,” “Micky,” and “Davy.” As such, The Monkees were following a tradition established by some of America’s greatest comedians, including Jack Benny, Burns and Allen, Laurel and Hardy, Lucille Ball, and The Three Stooges. But The Beatles had the greatest effect on The Monkees. The English pop group influenced The Monkees’ zoomorphic name and the cute misspelling of “monkeys”; the group’s gender and size and partic­ular mix of personalities; and the group’s zany antics on the TV show, which were modeled on those of The Beatles in their hit films, A Hard Day’s Night (1964) and Help! (1965). Coincidentally, Davy Jones and the Broadway cast of Oliver! performed on The Ed Sulli­van Show on the same night in 1964 as The Beatles did. “I watched The Beatles from the side of the stage,” Jones recalled. “I saw the girls going crazy, and I said to myself, ‘This is it, I want a piece of that'” (Los Ange­les Times, 1 March 2012).

Each chapter of Why The Monkees Matter looks at a different aspect of the TV series, such as its contribu­tion to American counterculture in the 1960s; how feminism, gender, and sexuality were played out on the show; the role the scriptwriters played in making The Monkees a success; how the personalities of “Mike,” “Peter,” “Micky,” and “Davy” evolved over the course of the TV series’ two seasons and fifty-eight episodes and so on. But a constant theme throughout Welch’s book is metatextuality on The Monkees, that is, the two levels of dialogue that were going on one between the actor—musicians on the set and the other between the actor—musicians and the TV audience. While this was nothing new on television (Jack Benny and George Burns, mentioned above, both often inter­rupted the action to directly speak to or look at the TV audience), The Monkees introduced metatextuality to a new generation and, what is more, did it in fresh new ways, such as including outtakes at the end of the shows. While this is regularly done nowadays, it was rather “shocking” in 1966—and certainly very “hip.”

—Derham Groves, University of Melbourne


 Why The Monkees Matter: Teenagers, Television and American Pop Culture

    

 

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5 Lessons from the Doctor Who Season Finale

Even if you don’t watch Doctor Who, watch this 5 minute clip of the regeneration of Peter Capaldi into Jodie Whitaker for a few reasons:

  1. It’s a popular culture breakthrough moment where an iconic hero character will now be a female
  2. It’s a writer saying goodbye to probably the coolest job he will ever have – in the form of the monologue he gives the character of The Doctor to perform as he regenerates – so when the character says things like “It’s a treadmill” and “Yes, yes I know, they’ll get it all wrong without me” he is, of course, speaking for himself.
  3. It’s also a writer using his podium to shout out his philosophy of life (which makes a nice New Years Eve kind of message:  “Never be cruel. Never be cowardly. Hate is always foolish and love is always wise.” THAT’s why we all want to be writers – to teach empathy whenever we can. 
  4. It’s an actor at the top of his game getting the kind of Shakespearean death few actors have the chance to perform
  5. It’s the moment the character switches from Capaldi to Whitaker and her first line upon seeing a female face is “Ah, brilliant” – which is one writer (Steven Moffat) complimenting another (Chris Chibnall) who had the creativity and hutzpah to finally make a choice that had been in discussions for 40 years.

Finally, If you follow Moffat’s writing at all, you’ll have noticed that throughout his tenure as the showrunner he continually focused on the importance of fairy tales to a society – even naming this episode “Twice Upon a Time”. 

Check it out!

5 Lessons from the Doctor Who Season Finale

Quotes from “Why The Monkees Matter” by Dr. Rosanne Welch – 85 in a series – Peter Tork

** Buy “Why The Monkees Matter” Today **

Quotes from

Peter Tork underwent perhaps the deepest changes from who he was before being cast in the show, who he became during and after, and how he eventually earned respect for his virtuoso musicianship in the later round of reunion tours where he began to play a wide variety of instruments – along with bits of Bach Concertos between songs.   

from Why The Monkees Matter by Dr. Rosanne Welch —  Buy your Copy today!

 Why The Monkees Matter: Teenagers, Television and American Pop Culture

    

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