07 Timothy Leary and the Counterculture from “Why The Monkees Matter: Even 50 Years Later [Video] (54 seconds)

Enjoy This Clip? Watch this entire presentation and Buy Why The Monkees Matter: Teenagers, Television and American Pop Culture

From Denver Pop Culture Con 2019.

Wherever you go, you find Monkees fans and the Denver Popular Culture Con was no different.  Amid rooms full of caped crusaders and cosplay creations, I was initially not sure how many folks would attend a talk on a TV show from the 1960s – but happily I was met by a nice, engaged audience for my talk on Why the Monkees Matter  – and afterward they bought books!  What more could an author ask for?

07 Timothy Leary and the Counterculture from

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Transcript

If you think about it, we know that Dr. Timothy Leary — who was famous for dropping a little acid back in the day — he already was watching the program and saying, there is a whole lot going on here that no one else is paying attention to. So this isn’t information that I invented years later. People already we’re saying these things but the network television guys weren’t really listening. They thought it was a show about four guys who wanted to be a band and there was a good way to sell music. It was synergy, right? It was the big mood of the day. So that’s what they thought, but when you think about what they were talking about on the show — this particular song Randy Scouse Git is a song that Mickey wrote. It hit number one on the charts in the UK and made it to like number three in charts in the United States. Came in the second season also in the second season their clothing began to change. They went from JCPenney matching band uniforms to the poncho, the more hippie attire, looking more like they looked in their real lives. .



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

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Netflix Premieres “Raising Dion” by Executive Producer Carol Barbee, A Stephens College MFA in TV and Screenwriting Guest Lecturer 

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Support the friends of the  Stephens College MFA in TV and Screenwriting alumni by checking out their new works when they premiere.

This week Netflix dropped “Raising Dion” – the new show by guest lecturer Carol Barbee, who will discuss the creation of the show at our January workshop.

Netflix Premieres

Read a review of Raising Dion from The Los Angeles Times


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The Divine Proportions of Luca Pacioli: A New Book By Adam Parker, Stephens College MFA in TV and Screenwriting Alumni [Read Now]

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Our very own Adam Parker, Stephens College MFA in TV and Screenwriting alumni just published a novel! — The Divine Proportions of Luca Pacioli

New Book By Adam Parker,  Stephens College MFA in TV and Screenwriting Alumni, The Divine Proportions of Luca Pacioli [Read Now]

Buy Now: Amazon  | Apple Books | Nook

Read the First Chapter (PDF)

Listen to an interview with author, Adam Parker


Luca Pacioli stood beside the great Leonardo da Vinci and gazed at The Last Supper. He saw immediately that something was terribly wrong.

An orphan from a small town in Italy, Pacioli came of age during the Renaissance seemingly destined for a life of struggle and obscurity. But Pacioli had the good fortune of meeting mentors who recognized his uncanny ability with numbers and introduced him to renowned artists and philosophers, royalty, and popes.

At a time when many still used Roman numerals and colleges didn’t even teach mathematics, Pacioli was determined to share his passion and make it accessible and understandable. Apprentice to an artist, but a terrible artist himself, he became a master at calculating mathematical perspective in paintings. Tasked with teaching mathematics with no textbook, he wrote his own—followed by books on double-entry bookkeeping, chess, and the divine proportion.

In this way, Luca Pacioli, “the father of accounting,” still has something to teach us—not just about mathematics—but about how we account for setbacks in our lives and how we determine what our legacy will be.

About the Author

W. A.W. Parker grew up Adam Parker, not knowing until he was twelve years old that his full name was William Adam Washburne Parker. Since this was a mouthful for a kid growing up in northeastern Montana, an area The Washington Post has dubbed “the middle of nowhere,” he remained Adam Parker until he earned his first film credit, found out he would have been the nineteenth Adam Parker on IMDb, and was thus in need of a pen name.

Adam discovered a lot of himself in Luca Pacioli. Moving around as a kid, Adam always made sure the first friend he made in every town was his local library. He studied at Harvard primarily because it is home to the oldest library system in the United States. As Luca does, Adam found that he could travel the world by roaming the stacks.

The Divine Proportions of Luca Pacioli is Adam’s first novel, but you’ll be able to read his second novel soon—about 20th-century architect Pietro Belluschi.

 


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Quotes from When Women Wrote Hollywood – 46 in a series – Lillian Hellman

Do you know about these women screenwriters? Many don’t. Learn more about them today! 

Buy “When Women Wrote Hollywood” Today!

Quotes from When Women Wrote Hollywood - 46 in a series - Lillian Hellman

If it was possible for one woman to shake up a world, Lillian Hellman did it, and shook it till it raged back at her. When one goes about searching for information about Lillian Hellman, there is a never ending bounty about her trials and tribulations, her accomplishments and failures, and most of all, about her personally. However, it is extremely hard to find anything wholly positive about her.

In Defense of Lillian Hellman
by Kelley Zinge


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† Available from the LA Public Library

19 Leigh Brackett from The Sisterhood of Science Fiction – Dr. Rosanne Welch [Video] (32 seconds)

Watch this entire presentation

The Sisterhood of Science Fiction: A Walk Through Some Writers and Characters You (Should) Know And Love

19 Leigh Brackett from The Sisterhood of Science Fiction - Dr. Rosanne Welch [Video] (32 seconds)

 

This one allowed me to riff on some of my favorite female science fiction writers across time, whether they be novelists or television writers. It also opened up a good conversation on what art we support and include in our lives – and what that art says to us and about us. — Rosanne

Transcript:

Now, this lady I love Leigh Brackett. She’s kind of a hidden gem in the world of both science fiction and screenwriting. She wrote a lot of Westerns in the beginning of her career. She wrote a lot of short stories science fiction you can find in a lot of collections in the 40s and 50s and she’s so popular and so beloved by the dudes who like those B motion pictures and those pointed kind of cheap science fiction pieces that she gets hired by a guy we know to write this movie which is pretty much one of our best science fiction pieces in the world.



* 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! 

Mentoris Project Podcast: The Divine Proportions of Luca Pacioli with Author, W.A.W. (Adam) Parker [Audio]

The latest podcast is about my Mentoris book and is now available on the Mentoris Web Site. Give it a listen and Subscribe for More! — Rosanne

Mentoris Project Podcast: The Divine Proportions of Luca Pacioli with Author, W.A.W. (Adam) Parker [Audio]

Mentoris Project Podcast: The Divine Proportions of Luca Pacioli with Author, W.A.W. (Adam) Parker [Audio]

Read The Divine Proportions of Luca Pacioli with Author, W.A.W. (Adam) Parker

Listen Now

Subscribe Via iTunes | Google Play | TuneIn | RSS


Luca Pacioli stood beside the great Leonardo da Vinci and gazed at The Last Supper. He saw immediately that something was terribly wrong.

An orphan from a small town in Italy, Pacioli came of age during the Renaissance seemingly destined for a life of struggle and obscurity. But Pacioli had the good fortune of meeting mentors who recognized his uncanny ability with numbers and introduced him to renowned artists and philosophers, royalty, and popes. At a time when many still used Roman numerals and colleges didn’t even teach mathematics, Pacioli was determined to share his passion and make it accessible and understandable. Apprentice to an artist, but a terrible artist himself, he became a master at calculating mathematical perspective in paintings. Tasked with teaching mathematics with no textbook, he wrote his own—followed by books on double-entry bookkeeping, chess, and the divine proportion. In this way, Luca Pacioli, “the father of accounting,” still has something to teach us—not just about mathematics—but about how we account for setbacks in our lives and how we determine what our legacy will be.


About the Author

W. A.W. Parker grew up Adam Parker, not knowing until he was twelve years old that his full name was William Adam Washburne Parker. Since this was a mouthful for a kid growing up in northeastern Montana, an area The Washington Post has dubbed “the middle of nowhere,” he remained Adam Parker until he earned his first film credit, found out he would have been the nineteenth Adam Parker on IMDb, and was thus in need of a pen name.

Adam discovered a lot of himself in Luca Pacioli. Moving around as a kid, Adam always made sure the first friend he made in every town was his local library. He studied at Harvard primarily because it is home to the oldest library system in the United States. As Luca does, Adam found that he could travel the world by roaming the stacks.

The Divine Proportions of Luca Pacioli is Adam’s first novel, but you’ll be able to read his second novel soon—about 20th-century architect Pietro Belluschi.

Mentoris Project Podcast: The Divine Proportions of Luca Pacioli with Author, W.A.W. (Adam) Parker [Audio]

Follow @mentorisproject on Instagram

Visit the Mentoris Project for more!


Also from the Mentoris Project

Want to use these books in your classroom? Contact the Mentoris Project!`

Screenwriting Panel at the Writers Guild Foundation via Instagram

Follow Rosanne on Instagram!

From @writersguildf – Writers Guild Foundation

Screenwriting Panel at the Writers Guild Foundation via Instagram

Happening Now: We team up with @ColumbiaChi to talk about how locations inform and impact characters on TV with @qu33nofdrama, @SparksAnthony, Matt Lutsky, @RosanneWelch and Connor Kilpatrick.



* 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!

From The Journal Of Screenwriting 2 : The screenplay as boundary object by Rosamund Davies

Highlighting the articles in the latest edition 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 screenplay as boundary object
Rosamund Davies

Described by Pasolini as a ‘structure that wants to be another structure’, the question of what kind of thing-in-itself the screenplay might be has produced a range of answers. Screenwriter Jean-Claude Carrière has used the metaphor of the chrysalis – of vital importance in the process of the caterpillar’s metamorphosis into a butterfly – but useless and empty once the butterfly, or film, has emerged. Film scholar Claudia Sternberg has considered the screenplay’s status as a ‘second rank’ text, in relation to the ‘first rank’ film performance. The idea of the screenplay as blueprint is common. Meanwhile, scholars (e.g. Maras, Millard, Price) have raised issues with such definitions, pointing out their limitations. In this article, I propose the notion of the ‘boundary object’ as a useful way of thinking about the role and nature of the screenplay within the development and production of a screen narrative. My starting point is sociologist Susan Leigh Star’s concept of the boundary object, defined as an object that allows different individuals or groups with heterogeneous skills, knowledge and interests to cooperate towards a common goal by creating a ‘shared space’, situated at the boundaries between their habitual spheres of practice. I propose that, avoiding the problems inherent in an analogy such as the blueprint, the concept of the boundary object offers a useful starting point for understanding and analysing the role of the screenplay in audio-visual production.

Journal of Screenwriting Cover

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!

#MentorMonday – Laura Brennan – Stephens College MFA in TV and Screenwriting

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#MentorMonday - Laura Brennan - Stephens College MFA in TV and Screenwriting

Today’s Stephens College MFA in TV and Screenwriting #mentormonday goes out to none other than the Pitching Goddess herself — Laura Brennan! (IMDB) We are so lucky to have her on staff as one of our mentors!

Laura Brennan’s eclectic writing career includes television, film, theater, web series, fiction and news. Behind the scenes, she has helped production companies develop movies, TV pilots and limited series. She has taught pitching workshops to executives at Netflix and Film Victoria, as well as MFA programs and undergraduate classes at universities including Stephens College, University of California, Los Angeles, University of Southern California, Boston University and National University. A graduate of Yale University, Brennan has won awards for journalism, television writing and fiction.


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21 Anita Loos from “When Women Wrote Hollywood” with Dr. Rosanne Welch [Video] (57 seconds)

Part of the California State University, Fullerton Faculty Noon Time Talks at the Pollak Library.

Watch this entire presentation

21 Anita Loos from

 

Transcript:

This lady people should know more. You might recognize from the title of her book Gentlemen Prefer Blondes. This is Anita Loos. Anita Loos is probably the most prolific female writer of the silent era and she made the transition into talkies. Many, many writers did not. She did because she could write really witty dialogue but Gentlemen Prefer Blondes is a novel that fascinates me. She wrote it because she was on a train with M Somerset Maugham who she loved as an intellectual and a blonde chick got on the train and he started to fawn all over her after they were having this lovely intellectual conversation and it made her mad. So she wrote a book about how blonds aren’t stupid. They’re actually working it and getting out of men exactly what they want. Yeah. So they pretend to be dumb. It’s really Legally Blonde long before there was Legally Blonde and it’s never gone out of publication but it is not taught in American literature class where The Great Gatsby is always taught.

Dr. Rosanne Welch discusses the women in her new book “When Women Wrote Hollywood” which covers female screenwriters from the Silents through the early 1940s when women wrote over 50% of films and Frances Marion was the highest paid screenwriter (male or female) and the first to win 2 Oscars.  Yet, she fails to appear in film history books, which continue to regurgitate the myth that male directors did it all – even though it’s been proven that the only profitable movies Cecil B. de Mille ever directed were all written by Jeannie Macpherson film ever won for Best Picture was written by Robert E. Sherwood (who people have heard of, mostly due to his connection to Dorothy Parker) and Joan Harrison.


Buy a signed copy of when Women Wrote Hollywood

…or via Amazon…

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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