Representation Matters from Giving Voice to Silent Films and the Far From Silent Women Who Wrote Them with Dr. Rosanne Welch [Video]

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Representation Matters from Giving Voice to Silent Films and the Far From Silent Women Who Wrote Them with Dr. Rosanne Welch [Video]

Representation Matters from Giving Voice to Silent Films and the Far From Silent Women Who Wrote Them with Dr. Rosanne Welch

 

A recording of my presentation at this year’s University Film and Video Association (UFVA) 2017 conference.

Transcript:

So I think it’s really important to give voice to these women through teaching this. Representation matters. This is one of my favorite Facebook memes going around right now. For children of today, this is a huge deal, right? When I was a kid Luke was the Jedi. We didn’t know until a later movie that Leia could be and she never got to be. Like, wait a minute. Why isn’t she as good as him? Why didn’t Obi-Wan find her? So, it’s important for kids to see that and finally, I like to teach silent films because I always tell them, as academics. or as writers, we’re standing on the shoulders of the people came before us. We need to credit them with being in the world first and giving us the foundation to build upon. That’s important to me.

Books Mentioned In This Presentation

Follow Dr. Rosanne Welch

Twitter: https://twitter.com/rosannewelch
Instagram: https://www.instagram.com/drrosannewelch/

Quotes from “Why The Monkees Matter” by Dr. Rosanne Welch – 89 in a series – Mike The Rebel

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

Quotes from

The later reputation Nesmith received for rebelling against authority came from his push for the actors to have a say in the music they recorded, which has been nicknamed the ‘palace revolt’ and resulted in the ouster of music supervisor Don Kirshner. Somehow the unrest Nesmith felt over the music situation blended into a common notion that he also detested the character he played. .

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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A History of Screenwriting 54 – Ninotchka Starring Greta Garbo – Written by Melchior Lengyel, Charles Brackett, Billy Wilder, Walter Reisch – 1939

A History of Screenwriting 54 – Ninotchka Starring Greta Garbo – Written by Melchior Lengyel, Charles Brackett, Billy Wilder, Walter Reisch – 1939

Ninotchka (1939) trailer 3.jpg
By trailer screenshot (MGM) – Ninotchka trailer, Public Domain, Link

The Trailer from Ninotchka/em>

Ninotchka is a 1939 American film made for Metro-Goldwyn-Mayer by producer and director Ernst Lubitsch and starring Greta Garbo and Melvyn Douglas.[1] It is written by Billy Wilder, Charles Brackett, and Walter Reisch,[1] based on a screen story by Melchior Lengyel. Ninotchka is Greta Garbo’s first full comedy, and her penultimate film. It is one of the first American movies which, under the cover of a satirical, light romance, depicted the Soviet Union under Joseph Stalin as being rigid and gray, in this instance comparing it with the free and sunny Parisian society of pre-war years.- Wikipedia


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07 Comparing The Book To The Movies from How Gidget Got Into the Girl Ghetto – Dr. Rosanne Welch – SRN Conference

07 Comparing The Book To The Movies from How Gidget Got Into the Girl Ghetto – Dr. Rosanne Welch – SRN Conference

07 Comparing The Book To The Movies from How Gidget Got Into the Girl Ghetto - Dr. Rosanne Welch - SRN Conference

Watch this entire presentation

 

Transcript:

It really hurt me to watch these generations of women discuss the business of being a woman and their dismissing her skill entirely.

Audience: Which year is the film? In which year was that a film, sorry?

The film is 1959. Thank you, sorry. Yes, 1959. We’re going to move into the 1960s with the next 2 sequels and the show.

So this is typical when a guy writes it and also the difference between the book and the films. In the book, she has a friend who’s an aspiring playwright. Gidget herself is reading Rachel Carson because Rachel Carson’s book Silent Spring was about how we were affecting the environment and the environment means everything to her because that’s where the surf is. In the movie, she doesn’t read because that’s a boring thing for a girl to do. Her father’s a professor, in the movie he’s kind of a sitcom goof-off. He’s actually played by Carl Reiner in one of the sequels. She wants to learn to surf. that’s her “character want.” If we scripting this story. In this she want’s a boyfriend. I mean entirely take away the thing that makes her special and different.

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: Phyllis (Nesmith) Gibson. Obituary. (2010, February 25). Los Angeles Times.

Phyllis (Nesmith) Gibson. Obituary. (2010, February 25). Los Angeles Times.

From The Research Vault: Phyllis (Nesmith) Gibson. Obituary. (2010, February 25). Los Angeles Times.

Phyllis Gibson, born Phyllis Ann Barbour, died at age 63 on February 13, 2010. She was born July 30, 1946 on Long Island, New York, to Paul and Elizabeth Barbour. Due to her father’s lifelong career as an educator and a soldier, Phyllis lived in a variety of countries as a young girl, including Germany, before settling in San Antonio, Texas, for the majority of her school years. Phyllis moved to Los Angeles at the age of 17 with her first husband Michael Nesmith of The Monkees, with whom she had three children.

Read the entire article – Phyllis (Nesmith) Gibson. Obituary. (2010, February 25). Los Angeles Times.


 

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

    

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Rosanne Welch and Peg Lamphier perform in The Vagina Monologues at Cal Poly Pomona

For our 3rd year participating in the Cal Poly Pomona Women’s Center’s production of The Vagina Monologues, Peg and I were given My Angry Vagina – and we milked it for all the laughs we could. What is it about college students who laugh every time a professor uses colorful language?

Rosanne Welch and Peg Lamphier perform in The Vagina Monologues at Cal Poly Pomona

Rosanne Welch and Peg Lamphier perform in The Vagina Monologues at Cal Poly Pomona

Who Tells Your Story? from Giving Voice to Silent Films and the Far From Silent Women Who Wrote Them with Dr. Rosanne Welch [Video]

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Who Tells Your Story? from Giving Voice to Silent Films and the Far From Silent Women Who Wrote Them with Dr. Rosanne Welch [Video]

Who Tells Your Story? from Giving Voice to Silent Films and the Far From Silent Women Who Wrote Them with Dr. Rosanne Welch [Video]

 

A recording of my presentation at this year’s University Film and Video Association (UFVA) 2017 conference.

Transcript:

 

So why are we doing this? Why are we studying Screenwriting History? Because who tells your story is important. All the books about screenwriters have been written by men. They write about all the important men. They read each other’s books. They repeat what they learned in the last book. Cari came out of nowhere and said “Who’s this lady who’s paycheck is bigger? I want to find out about her life.” And as she delved into it, she found fourteen women around her who were all friends, part of the same sort of path and friends, who wrote movies. As I said, Anita Loos and all those other women. It matters that students understand any history book they read is not the entire history of what they are reading about. There’s no way to fit it all into one book so you have to your own research and move further, which is what have them do. So, again, as I said, they got into the story because their nephew put them in the story.

Books Mentioned In This Presentation

Follow Dr. Rosanne Welch

 

Twitter: https://twitter.com/rosannewelch
Instagram: https://www.instagram.com/drrosannewelch/

06 From Book To Movie from How Gidget Got Into the Girl Ghetto – Dr. Rosanne Welch – SRN Conference

06 From Book To Movie from How Gidget Got Into the Girl Ghetto – Dr. Rosanne Welch – SRN Conference

06 From Book To Movie from How Gidget Got Into the Girl Ghetto - Dr. Rosanne Welch - SRN Conference

Watch this entire presentation

 

Transcript:

…and yet we don’t read books about a girl’s coming of age and Gidget turns out to be just such a thing. About a woman who goes to the beach to learn a skill. Yes, she meets some boys along the way and, of course, she finds one or two of them handsome, but she also makes choices about whether or not to have sex and that is a huge moment in the coming of age of a girl. Nobody takes advantage of her which tends to be the way the story goes. She makes the choices and the men respect her for it and thought that was fascinating when I read this book. So, Hollywood gets a hand of this book and they have to do something with it. They have to make it silly. So, in the real world, this is what she has to say. This book is all about how much she loves surfing and that’s a picture of the real Kathy Kohner back in the day with her surfboard. That is how she identified herself. We get to the movies and this is some typical dialogue. Yeah, the cringing can start at any time.

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.

Dr. Rosanne Welch and Dr. Peg Lamphier highlighted in Special Collections Library Display at Cal Poly Pomona

I was visiting — along with my IGE class — the fine folks at the Special Collections Room at the Cal Poly Pomona Library today.

They were happy to show me —in preparation for a Women in Leadership conference coming to the university this quarter — that they’ve filled their display cases with samples of the work of female professors across the history of CPP.

Dr. Rosanne Welch and Dr. Peg Lamphier highlighted in Special Collections Library Display at Cal Poly Pomona

Click for larger image

This means, of course, that my and Peg Lamphier’s encyclopedia (Women in American History) is on display along with photos of us from a campus newspaper interview about that project.

There is also a photo taken when Peg was voted a Top 5 Koofer Professor

Nice to see them recognizing women and their part of the school’s history.

From The Research Vault: From Circus Boy to singing Monkee, Micky Dolenz endures over the decades, AXS, Barbara Nefer, July 7, 2014

From Circus Boy to singing Monkee, Micky Dolenz endures over the decades, AXS, Barbara Nefer, July 7, 2014

From Circus Boy to singing Monkee, Micky Dolenz endures over the decades, AXS, Barbara Nefer, July 7, 2014

Hey, hey, he’s a Monkee, but Micky Dolenzactually started his career in the public eye as a child actor on a show called Circus Boy in 1956. He played the title character, Corky, an orphaned water boy who worked under the big top, under the stage name Mickey Braddock. Fortunately, his career wasn’t over at the tender age of 13, when the show ended after two seasons. His big break was only seven years away, when he was cast in a zany new sitcom, The Monkees, that debuted in 1965.

Read the entire article – From Circus Boy to singing Monkee, Micky Dolenz endures over the decades, AXS, Barbara Nefer, July 7, 2014


 

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

    

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